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Design 


INSIDE 
3USE  BEAUTIFUL 


VIEWS  SHOWING  FURNISHINGS 
AND  THEIR  ARRANGEMENT 


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INSIDE 
THE   HOUSE   BEAUTIFUL 


INSIDE  THE  HOUSE  BEAUTIFUL 

^  Qollection  of  Interior  Views 
Showing  Furnishings  and  Their  Arrangement 


By   HENRIETTA  C.  PEABODY 


ne  ATLANTIC  MONTHLY  PRESS 
BOSTON 


Copyrig/il,  iq2I,  hy 
THE  ATLANTIC  MONTHLY    PRESS 


B>JVlRON. 
DESIGN 


OUT 


CONTENTS 

Foreword            ..........  7 

The  Hospitable  Hall 8 

Making  the  Living-room  Livable        ......  14 

Curtains  and  Hangings       ........  23 

Books  and  Their  Placing  . 30 

Pictures  and  Wall  Hangings       .......  35 

Porch  and  Sun-  room           ........  40 

Dining  Arrangements          ........  44 

Kitchen  Comforts       ..........  50 

The  Sleeping-room    .........  54 

Lighting             ..........  59 

Good  Furnishings  for  Here  and  There        .....  64 


Pi 


704 


As  architecture,  this  hallway  is  obviously  successful,  and  as  a  study  in  decorative  treatment  it  offers  even 
more  of  interest.  The  plaster  of  walls  and  vaulted  ceiling  provides  a  background  for  the  brickwork  of  the 
stairs,  the  wrought  iron  railing  and  leaded  windows,  and  for  the  handsome  tapestry  above.  Vines  and  blos- 
soms at  tlie  sides  of  the  stairway  tend  to  soften  any  harshness  of  line  or  coldness  of  materials  which  might 
otherwise  be  felt. 

6 


Foreword 

ENTERING  A  HOUSE  is  much  the  same  as  meeting  a  person.  If 
the  house  is  a  stranger  to  us,  our  introduction  will  determine  our  first  im- 
pressions. Just  as  it  is  always  a  pleasant  experience  to  meet  a  person 
whose  manner  is  at  once  cordial,  unassuming,  and  sincere,  so  is  it  equally- 
delightful  to  enter  a  house  where  hospitality,  simplicity,  and- good  taste 
greet  us  on  the  threshold. 

To  manifest  these  qualities  successfully  in  our  homes  is  a  matter  which 
concerns  most  of  us  deeply,  and  which  we  are  apt  to  regard  as  beyond  our 
powers  unless  we  have  had  special  training  or  are  naturally  gifted  with 
what  is  commonly  known  as  "artistic  ability."  But  an  able  writer  has 
very  aptly  said:  "Interior  decoration  is  not  a  mystery;  it  is  the  use  ot 
enlightened  common  sense";  and  there  is  much  truth  in  this  statement. 
The  majority  of  people  can  readily  distinguish  between  good  and  bad  color 
schemes,  furnishings,  and  arrangements,  when  the  actual  objects  are  before 
them,  and  need  principally  to  cultivate  their  powers  of  observation  so 
that  they  may  visualize  their  own  furnishings  in  the  spaces  they  are  to 
occupy. 

No  attempt  is  made,  therefore,  in  the  pages  of  this  book  to  set  forth  the 
principles  of  interior  decoration.  The  writer  believes  that,  for  the  prac- 
tical uses  of  such  principles  by  the  owners  of  modest  homes,  as  much  can 
be  learned  from  good  example  as  from  a  study  of  theory.  If  a  few  of  the 
illustrations  imply  furnishings  beyond  the  realm  of  the  moderate-priced 
home,  it  is  because  there  is  some  application  of  detail  or  arrangement 
which  can  be  made  to  serve  the  purposes  of  owners  of  less  pretentious 
dwellings. 

The  physical  limitations  of  the  book  require  that  each  room  be  con- 
sidered separately;  but  it  should  be  remembered  that  the  house  itself  is 
the  unit,  not  the  room,  and  that  a  certain  unity  of  background  in  walls 
and  ceilings  must  be  maintained  throughout,  if  the  ideas  suggested  by  these 
pictures  and  the  accompanying  text  are  to  be  successfully  adopted. 

Acknowledgement  is  due  to  The  House  Beautiful  magazine,  which  has 
furnished  a  large  number  of  the  illustrations  to  follow,  and  the  author  is 
likewise  indebted  to  Messrs.  J.  B.  Lippincott  Company  for  permission  to 
use  several  pictures  which  have  appeared  in  their  publications. 


@ 


The  Hospitable  Hall 


The  hall  is  considerably  more 
than  a  passage  to  the  rooms  of  the 
house  — •  it  is  the  handclasp  of  our 
greeting  to  the  approaching  guest. 
By  its  character  wt  may  express  a 
warm  welcome  or  a  cold  indiffer- 
ence, and  our  guest,  consciously 
or  unconsciously,  will  be  sensible 
of  the  degree  of  our  hospitality. 
More  than  this,  we  can,  if  we  will, 
by  the  use  of  color  and  proportion, 
make  him  experience  a  sense  of 
harmony  and  restfulness,  and  if 
he  is  a  stranger,  establish  in  his 
mind  the  sort  of  people  who  live  in 
the  house. 

In  the  early  feudal  dwellings  of 
northern  Europe  the  hall  was  the 
main  room  and  was  used  not  only 
for  living,  eating,  and  sleeping,  but 
for  entertainment  as  well.  Later 
on,  in  the  Renaissance  period,  ad- 
vanced standards  of  living  and  cul- 
ture brought  the  addition  of  sec- 
ond-story rooms,  and  the  means  of 
access  to  these  rooms  was  very 
naturally  the  hall.  Coming  down 
to  our  own  country,  we  find  that 
the  halls  of  our  New  England  farm- 
houses of  a  century  ago  were  used 
principally  as  a  means  of  communi- 
ication  between  rooms  and  floors; 
for,owing  to  the  severe  climate  and 
the  difficulties  of  the  heating  prob- 
lem, they  were  kept  shut  off  from 

the  rest  of  the  house  for  a  large  part  of  the  year.  Chilling  in 
aspect  as  well  as  in  temperature,  these  halls  did  not  invite 
leisurely  contemplation,  and  it  was  an  unwelcome  guest  indeed 
who  was  not  promptly  ushered  into  the  family  living-room. 

But  the  halls  in  our  modern  well-heated  homes  have  no  such 
excuse  for  isolation,  and  by  custom  they  have  again  become  part 
of  the  living  section  of  the  house,  in  many  cases,  if  size  permits, 
being  used  as  reception  rooms.  Almost  every  hall  is  spacious 
enough  to  accommodate  a  chair  or  two  and  frequently  a  bench 
or  davenport.  Console  tables  are  much  in  vogue  and  have  the 
advantage  of  taking  very  little  space ;  but  a  larger  table  is  not  an 
inappropriate  furnishing  if  it  does  not  crowd  the  hall.  In  no 
case  should  furniture  be  so  placed  as  to  block  or  interfere  with 
entrances,  exits  or  direct  lines  of  passage  between  them,  and 
special  care  should  be  taken  not  to  place  any  object  so  near  the 
bottom  of  the  stairs  that  anyone  passing  up  or  down  could  be 
inconvenienced.  A  mirror  or  wall  clock  may  be  made  to  serve  a 
decorative  as  well  as  a  practical  purpose,  especially  in  combina- 
tion with  a  console  table  or  davenport.  Pictures  may  be  used 
if  there  is  sufficient  space ;  but  frequently  an  unbroken  wall  is  an 
asset  in  the  small  or  medium-sized  hall,  since  it  tends  to  give  the 
effect  of  spaciousness. 

There  is  frequently  a  question  as  to  whether  the  hall  should 
have  a  distinct  color  scheme  of  its  own  or  should  carry  out  the 
scheme  of  the  principal  room  adjoining.  The  answer  must  de- 
pend to  a  large  extent  upon  the  plan  of  the  house  and  its  archi- 
tectural features.  If  the  house  is  a  small  one,  for  example,  and 
a  living  room  opens  directly  off  the  hall  through  an  arch  or 
double  doorway,  an  effect  of  space  may  often  be  gained  by  ex- 
tending the  color  scheme  of  the  living  room  to  the  hall.  This 
may  be  accomplished  by  using  the  same  wall  treatment  and 
hangings  througho\jt,  or  by  combining  the  same  colors  through 
the  use  of  different  mediums.     Should  the  woodwork  of  the  hall 


A  PLEASING  vista  adds  much  to  the  attractiveness  of 
a  hallway,  as  is  shown  here  by  a  view,  from  the  front 
door,  of  a  stairway  and  window  at  the  rear  of  the 
house. 


vary  greatly,  however,  from  that  of 
the  living-room,  an  attempt  to  ex- 
tend the  color  scheme  might  well 
appear  forced  and  defeat  its  object 
by  drawing  attention  to  the  differ- 
ence in  architectural  finish.  Where 
two  rooms  of  equal  importance 
open  off  the  hallway,  their  respec- 
tive color  notes  may  often  be  suc- 
cessfully combined  therein  ;but  un- 
der some  conditions  this  would  be 
unwise,  and  the  hall  must  either 
be  developed  as  a  separate  unit  or 
must  become  a  neutral  link  between 
the  two  adjoining  color  schemes. 

Rugs  will  invariably  solve  the 
problem  of  floor  covering  for  the 
hall  itself.  But  what  about  the 
stairs?  Should  a  carpet  be  used,  or  is 
it  better  to  leave  them  uncovered? 
This  has  become  largely  a  matter 
of  preference,  for  the  custom  of  the 
day  decrees  that  either  method  is 
correct.  Of  course,  the  woodwork 
must  be  more  carefully  finished  if 
no  covering  is  used,  and  a  mahog- 
any or  dark  oak  stain  for  the  treads 
is  almost  essential.  Carpet  prob- 
ably requires  a  little  more  care 
and  initial  expense,  but  there  is  a 
warmth  of  feeling  in  a  textile  which 
woodwork  does  not  possess,  and 
for  those  who  have  a  love  of  color, 
a  strip  of  stair  carpet  gives  oppor- 
tunity for  its  expression. 
Halls  are  principally  of  two  types,  requiring  totally  differ- 
ent forms  of  treatment.  The  long  narrow  hall  which  serves 
merely  as  a  passageway  between  rooms  is  apt  to  be  dark  and 
awkward  in  its  proportions.  The  lack  of  light  can  be  overcome 
to  some  extent  by  woodwork  and  wall-finish,  but  considerable 
thought  must  be  given  to  the  arrangement  of  furnishings  if  the 
impression  of  excessive  length  is  to  be  dispelled.  Horizontal 
lines,  as  expressed  in  rugs,  and  pieces  of  furniture  placed  against 
the  parallel  walls,  will  bring  about  the  desired  effect,  especially 
if  the  pieces  are  interesting  in  themselves  and  so  balanced  as  to 
attract  attention  to  their  composition  as  a  group.  The  square 
hall  is  much  less  of  a  problem,  since  there  need  be  no  attempt  to 
alter  proportions  by  decorative  means,  and  the  furnishings  can 
be  quite  frankly  placed  to  their  best  advantage.  In  many  of 
the  old  Colonial  houses  and  their  modern  adaptations,  the  de- 
tail and  finish  of  the  woodwork  are  so  beautiful  that  there  is 
little  need  for  furnishings  of  any  description.  A  scenic  or  other 
highly  decorative  wall-paper  is  another  means  of  providing  the 
chief  element  of  interest  in  the  hall. 

It  is  extremely  important  to  choose  just  enough  pieces  for  the 
hall  without  crowding,  and  to  .abolish  any  unessential  furniture 
or  ornaments.  In  fact,  the  knowledge  of  what  to  leave  out  is 
quite  as  necessary  as  the  knowledge  of  what  to  use  in  furnishing 
any  room  of  the  house,  but  failure  to  eliminate  non-essentials  is 
more  noticeable  in  the  hall  than  elsewhere  becauseof  the  limita- 
tions of  space.  If  then  we  have  chosen  such  furnishings  and 
colors  as  provide  for  the  comfort  and  enjoyment  of  a  waiting 
guest;  if  we  have  secured  a  restful  and  satisfying  balance  by 
the  right  use  of  just  enough  but  not  too  many  pieces  of  furni- 
ture; ajid  if  withal  we  have  achieved  a  complete  harmony  be- 
tween the  architecture  of  the  hall  and  its  furnishings,  we  may 
rest  assured  that  friends  and  family  alike  will  find  pleasure  and 
contentment  in  crossmg  the  threshold. 


8 


The  mirror  and  console  table  in  the  centre  illustration 
are  less  conventional  in  design  than  those  above,  but 
they  lose  nothing  of  dignity  thereby  and  are  in  excellent 
proportion.  The  table  is  placed  rather  closer  to  the 
foot  of  the  stairs  than  is  convenient  for  passing,  but  the 
limitations  of  space  may  sometimes  make  this  unavoid- 
able. 


The  furnishings  of  the  hall  shown  on  the  left  are  well 
suited  to  the  space  they  occupy,  and  are  at  the  same 
time  good  in  themselves.  Plain  wall-paper  is  an  asset, 
since  it  sets  off  the  mirror  to  advantage.  Judgment 
has  been  used  in  the  selection  of  pieces  which  go  well 
together  and  by  their  harmony  and  appropriateness 
give  a  feeling  of  hospitality  to  the  hall. 


The  decorative  wall-paper  is  the 
principal  source  of  interest  in  this 
Colonial  hall,  and  the  furnishings  are 
kept  subordinate  to  it.  Notice  how 
effective  are  the  dark  strip  of  stair 
carpet  and  the  mahogany  hand-rail, 
in  contrast  to  the  light  walls  and 
woodwork.  The  table  and  chair  also 
give  a  bit  of  character  by  reason  of 
their  dark  value,  without  in  any  way 
detracting  from  the  interest  of  the 
wall-paper. 


The  two  halls  shown  on  this  page  illustrate  the  use  of 
construction  materials  rather  than  furnishings  for  secur- 
ing a  desired  decorative  effect;  but  while  it  may  seem 
at  first  thought  that  this  kind  of  decoration  lies  wholly 
within  the  province  of  the  architect,  it  is  well  to  reflect 
that  the  owner  may  easily  spoil  the  architect's  com- 
pleted work  by  failure  to  make  a  wise  choice  of  ac- 
cessories. The  examples  here  are  notable  for  the  judg- 
ment and  good  taste  displayed  by  the  owners  in  their 
selections.  A  wall  fountain  and  two  wrought  iron 
plant-stands  constitute  the  decorative  features  of  a  hall 
which  would  be  a  trifle  too  severe  were  it  not  for  the 
warmth  of  coloring  in  the  floor-tiles  and  the  Oriental 
rug.  There  is  abundant  interest  in  the  paneling,  and 
the  fountain  design  with  its  fluted  top  and  dark  marble 
basin,  the  latter,  with  the  plant-stands,  providing  the 
proper  relief  for  the  white  walls.  A  hanging  lantern, 
also  of  wrought  iron,  plays  an  important  part  in  the 
scheme  and  is  well  chosen.  The  effect  of  this  hall  is 
good,  and  in  its  studied  simplicity  it  is  typical  of  modern 
decorative  methods. 


Brick  and  plaster  are  unquestionably  good  in  combina- 
tion, but  it  is  rarely  that  their  contrasting  qualities  are 
so  skillfully  utilized  as  in  this  hall  of  the  patio  type. 
The  house,  which  is  a  remodeled  city  home,  was  orig- 
inally a  stable,  and  the  old  brick  walls  have  been  sand- 
blasted to  obtain  a  delightful  salmon  tone.  The  stairs 
are  of  a  grayish  pink  cement  which  blends  beautifully 
with  the  brick  walls  and  floor.  The  lighting  comes 
chiefly  from  above,  where  a  glass  roof,  lined  with  cream- 
colored  gauze,  sifts  the  sunlight  and  casts  a  mellow  glow 
over  the  rich  reds  and  greens  of  the  hall  below.  At 
night  a  row  of  small  lights  around  this  ceiling  provides 
a  similar  quality  of  illumination.  A  small  fountain  is 
the  central  feature  of  the  patio,  and  above  it  hangs  a 
wrought-iron  lantern  of  intricate  design.  Trailing 
vines,  ferns,  and  tropical  plants  are  abundant,  and  a 
group  of  wicker  seats  with  a  tea  table  suggest  the  lei- 
surely enjoyment  of  this  bit  of  Italy  transported  to 
the  heart  of  a  New  England  city. 


10 


A  SPACIOUS  hall,  which  might  easily  have  been  overcrowded  with  furnishings  to  the  detriment  of  its 
architectural  beauty.  Such  furnishings  as  have  been  used,  however,  serve  to  enhance  rather  than  de- 
stroy the  simplicity  of  paneled  walls  and  the  delicacy  of  structural  detail. 


Here  again,  it  would  have  been  easy,  by  an  over-abundance  of  furnishings,  to  convert  this  pleasant  hallway 
into  living  space;  but  its  character  as  a  passage  between  rooms  has  been  admirably  kept,  and  it  remains,  as 
it  should,  a  connecting  motive,  while  possessing  all  the  attributes  of  comfort  and  hospitality. 

11 


An  interesting  thing 
about  this  hall  is  that 
it  has  been  converted 
from  an  old  back 
stairway.  Aside  from 
the  grace  and  beauty 
of  line  in  the  present 
stairs  and  curved  bal- 
ustrade, a  striking 
feature  is  the  color 
scheme  of  dark  red 
carpet,  mahogany 
Queen  Anne  serving 
table,  and  the  pair  of 
urn-shaped  chestnut 
bowls  with  red  glass 
linings,  all  of  which 
are  richly  outlined 
against  the  cream- 
colored  walls  and 
woodwork. 


Reduced  to  the  lowest  possible  terms  of  simplicity  are 
the  furnishings  of  the  hall  below  which  depends  chiefly, 
for  its  decoration,  upon  the  intricate  and  delicate  carv- 
ing of  the  stair  spindles,  and  the  well-proportioned 
paneling  of  the  side-walls.  The  mahogany  hand-rail, 
stair-treads,  and  small  console  table  give  the  necessary 
contrast  of  dark  values  and  plain  surfaces. 


The  hall  of  a  city  house  is  apt  to  present  peculiar  diffi- 
culties owing  to  its  customary  narrowness  and  dispro- 
portionate height.  While  this  hall  depends  largely, 
for  its  effect,  on  architectural  features,  such  as  the 
pleasing  arch  and  stairway  treatment,  a  great  deal  of 
its  success  is  due  to  the  furnishings,  which  are  precisely 
right  in  both  proportion  and  design. 


12 


A  SMALL  square  hall  is  usually  a  less  difficult  problem  than 
the  customary  long  and  narrow  one,  as  regards  fur- 
nishings; for  the  console,  or  small  table,  is  apt  to  prove 
the  solution,  and  a  grandfather's  clock  is  seldom  amiss, 
especially  where,  as  above,  it  can  be  placed  in  relation 
to  some  other  vertical  feature,  such  as  a  doorway. 


A  VIEW  of  an  adjacent  breakfast  porch,  with  its  stream- 
ing sunlight,  greets  the  traveler  who  enters  this  hall, 
and  the  length  of  the  passageway  is  successfully  broken 
up  by  the  use  of  an  ample  couch  placed  midway  and 
balanced  by  a  table  and  chair  on  the  opposite  wall  be- 
vond  the  stairs. 


Originally  the  white 
and  mahogany  stair- 
case was  a  dark  oak, 
giving  a  gloomy  air 
to  the  hall ;  but  white 
paint  and  a  Colonial- 
gray  wall-paper  have 
worked  a  miracle,  and 
with  the  cosy  table 
and  chair,  invite  the 
visitor  to  linger  and 
enjoy  their  cheerful 
hospitality.  This  is 
a  good  example  of 
what  may  be  accom- 
plished with  an  old 
hall. 


13 


A  TROWELED-FiNiSH  piaster  makes  an  excellent  background  for  decorative  effects,  as  its 
minute  unevenness  of  surface,  its  neutral  color  and  light-value  afford  contrast  to  hangings, 
pictures,  and  furniture. 


Making  the  Living-room  Livable 


The  living-room  may  well  be  termed  the  social  centre  of  the 
home,  and  within  the  room  itself  the  fireplace,  if  there  is  one,  and 
let  us  hope  there  is,  justly  claims  the  right  to  be  recognized  as 
the  centre  of  interest,  architecturally  as  well  as  socially.  This 
interest  should  therefore  be  utilized  in  arranging  the  furnishings. 
There  are  a  number  of  groupings  which  suggest  themselves,  and 
most  of  them  are  illustrated  in  this  chapter,  but  a  few  general 
considerations  may  be  appropriately  mentioned  here. 

The  shape  and  size  of  the  room  will  determine  whether  or  not 
it  is  wise  to  adopt  a  scheme  of  grouping  which  will  block  the  view 
of  the  fireplace  from  the  entering  doorway  or  other  vantage 
point.  That  is  to  say,  an  uninterrupted  view  of  blazing  logs 
may  be  too  much  of  an  asset  to  warrant  its  sacrifice  by  imposing 
some  obstacle  to  that  view.  This  would  be  the  case,  for  instance, 
in  a  rectangular-shaped  room  where  the  fireplace  was  located  on 
one  of  the  shorter  sides  of  the  rectangle.  In  the  same  room, 
however,  with  the  fireplace  on  the  long  side,  a  library  table  or 
davenport  could  quite  well  be  placed  in  front  of  the  fireplace, 
since  a  view  of  the  fire  would  be  easily  caught  from  either  end 
of  the  room  or  from  doorways  entering  on  the  right  or  left  in  the 
opposite  wall.  A  corner  fireplace  can  least  of  all  afford  a  blocked 
treatment,  since  convenience  as  well  as  appearance  is  thereby 
affected. 

Another  question  to  be  decided  is  whether  the  fireplace  group 
shall  be  the  dominant  one  in  the  room,  or  whether  interest  is  to 
be  distributed  by  the  use  of  minor  groups.  Mu  :h  depends  upon 
the  dimensions  of  the  room,  which,  if  ample  in  size,  can  well  con- 
tain two  or  more  prominent  groupings.  These  should  be  well 
composed,  however,  to  avoid  the  appearance  of  segregation  and 
to  prevent  an  air  of  too  great  formality,  such  as  is  often  notice- 
able in  period  rooms  of  French  design.  The  arrangement  of 
groups  must,  of  course,  be  somewhat  dependent  upon  the  light- 


ing facilities  in  the  room,  and  for  this  reason  it  is  good  judgment 
to  plan  the  furnishings  of  a  new  home  before  the  house  is  wired. 
Failing  this,  however,  a  generous  supply  of  base  plugs  should  be 
installed,  so  that  light  centres  may  be  available  for  furniture 
groups  wherever  desired. 

Corners  are  frequently  a  problem  —  so  much  so,  in  fact,  that 
manufacturers  are  now  making  corner  furniture  a  substantial 
part  of  their  product.  Tables  and  cabinets  are  designed  to  oc- 
cupy the  minimum  of  space  and  to  supply  individuality  where 
needed,  while  at  the  same  time  they  harmonize  with  other 
groups  and  centres  in  the  room.  The  custom  of  getting  around 
a  corner  by  cutting  across  it  with  a  table,  sofa,  or  upright  piano 
has  luckily  fallen  into  disuse,  for  any  arrangement  which  di- 
rectly opposes  the  architectural  lines  of  the  room  is  apt  to  be 
restless  artd  ungraceful.  If  a  piece  of  furniture  on  a  side  wall 
is  close  enough  to  the  corner  to  occupy  it,  no  other  furnishing  is 
required  there. 

The  quality  of  livableness  is  the  measure  of  success  in  the 
furnishing  of  any  room  which  is  to  be  lived  in,  and  to  achieve 
this  to  the  full,  comfort  must  be  one  of  the  first  considerations. 
An  easy  chair  or  sofa  may  lose  its  quality  of  comfort  if  it  is  not 
placed  convenient  to  table,  hearth,  or  bookshelf,  as  the  case  may 
be  ;  but  it  is  bad  practice  to  block  bookcases,  cabinets,  and  door- 
ways with  chairs  or  other  furniture. 

Quite  as  much  depends  upon  the  arrangement  of  the  furniture 
as  upon  its  style  or  quality,  and  many  a  living-room  has  been 
praised  for  its  homelike  character  when  the  actual  furnishings 
were  but  a  miscellaneous  collection  of  quite  ordinary  pieces.  If, 
therefore,  we  cannot  afford  to  furnish  our  living-room  as  we 
should  like,  we  can  at  least  strive  for  that  quality  of  charm 
which  so  often  comes  merely  from  making  the  most  of  what  we 
possess. 


14 


GOOD  SUGGESTIONS 


FOR  THE 


ARRANGEMENT 


OF  FURNISHINGS 


AROUND 


THE  FIREPLACE 


15 


FOUR  WAYS 

OF 
FURNISHING 

The  room  has,  for  each 
arrangement,  the  same 
background  of  soft 
gray -green  painted  walls, 
ivory  woodwork  and  Per- 
sian rug  in  tones  of  putty, 
blue-green  and  deep  rose. 


The  picture  above  illustrates  a  scheme  planned  around  the  Queen  Anne  settee  and  armchairs  of  wal- 
nut. The  settee  is  filled  with  soft  cushions  covered  in  green  and  blue  brocade,  and  a  pie-crust- top  stand 
is  placed  conveniently  near.  Flanking  the  opposite  side  of  the  fireplace  is  the  deep  overstuffed  sofa, 
covered  in  wool  tapestry  which  repeats  the  colors  of  the  rug.  One  of  the  most  beautiful  pieces  in  the 
room  is  the  Queen  Anne  chair  beside  the  bookcase,  with  old  petit-point  covering  of  colorful  flower 
design. 


An  English  chintz 
loom  is  shown  here, 
the  flowered  printed 
linen  suggesting  sun- 
shine and  gayety. 
Here  the  sofa  is  slip- 
covered, while  the 
Queen  Anne  wall 
chairs  have  tailored 
covers  finished  with 
ball  fringe.  Window 
and  door  draperies  are 
of  this  same  chintz. 
Black  and  gold  lac- 
quer in  Chippendale 
designs  is  used  for  the 
nest  of  oval  tables 
and  the  tea-table 
against  the  far  wall, 
while  the  chairs  near 
the  mahogany  con- 
sole are  Chippendale 
antiques.  This  ar- 
rangement is  some- 
what less  formal  and 
therefore  more  livable 
than  the  one  above, 
due  probably  to  the 
presence  of  the  flow- 
ered chintz,  which 
suggests  the  country 
house. 


16 


THE  SAME 

LIVING 

ROOM 

The  decorative  flower 
painting  of  the  Geoi^ian 
period  over  the  fireplace 
lends  the  color  notes  and 
forms  the  centre  of  in- 
terest in  each  grouping. 


There  is  a  sturdiness  in  the  construction  of  the  earlier  English  furniture  which  gives  a  livable  quality 
to  a  room.  The  comfortable  wing  chair  is  reproduced  from  a  Queen  Anne  model,  as  is  the  love-seat 
at  the  opposite  side  of  the  fireplace,  and  these  pieces  are  covered  with  wool  tapestry  which  repeats  the 
colorings  of  the  rug.  The  Windsor  chairs  and  gate-legged  table  are  early  Queen  Anne  pieces,  while 
the  straight-side  chairs,  the  knee-hole  desk,  and  bookcases  are  reproductions  and  adaptations  of  slightly 
earlier  designs.  The  furniture  is  arranged  in  several  groups  with  suitable  lamps  to  give  color-notes  in 
a  subdued  scheme. 


The  lighter  types  of 
English  eighteenth- 
century  furniture 
are  used  in  this  ar- 
rangement. The  deep 
rose  tones  of  the  rug 
predominate  in  the 
covering  of  the  sofa, 
and  also  in  the  shades 
of  the  lamps.  The 
Sheraton  sofa-table 
and  the  spinet-desk 
are  of  satinwood,  dec- 
orated with  painted 
flower  designs,  as  is 
likewise  the  nest  of 
tables ;  while  the  Sher- 
aton chairs  are  of 
decorated  satinwood, 
and  cane.  Upholster- 
ed chairs  are  lighter 
in  construction  and 
smaller  in  scale  than 
those  of  the  earl- 
ier Georgian  cabinet- 
makers, and  their  type 
is  therefore  better 
adapted  to  small 
rooms. 


17 


A  DOUBLE 

PAGE  OF 

CORNER 

FURNISHINGS 


There  are  certain  corners  like  this  one,  where  a  round  table  with  two  chairs  can  be  com- 
bined in  an  attractive  group ;  but  without  the  windows  on  either  side  of  the  corner,  the 
result  would  be  less  pleasing.  Their  presence  justifies  the  arrangement  and  avoids 
any  stiffness  or  feeling  of  artificiality,  which  might  exist  if  this  corner  were  flanked  by 
continuous  walls. 


By  visualizing  here  the 
corner  table  and  chairs 
shown  above,  it  will  at 
once  be  seen  that  a  more 
irregular  arrangement  is 
required  for  an  unbroken 
background.  This  re- 
sult is  obtained  by  the 
use  of  a  day  bed  placed 
close  up  into  the  corner 
on  one  wall,  with  a  small 
table  and  arm-chair 
along  the  other.  Wall 
decorations  of  ivy  in 
hanging  baskets  break 
up  the  monotony  of  the 
paneling  and  help  to  fill 
the  corner. 


18 


A  GRAND  piano  is 
often  the  solution  of 
a  corner  problem,  and 
here  it  has  been  dis- 
posed of  to  good  ad- 
vantage and  with  the 
best  results  in  the 
matter  of  light  for 
the  player.  Together 


There  is  hardly  more  than  a  suggestion  of 
a  corner  below,  yet  some  piece  of  furniture 
is  needed  to  break  the  line  of  intersection 
between  the  book-shelves  and  the  window- 
frame.  Nothing  could  be  better  than  the 
comfortable  armchair  in  just  the  right 
relation  to  the  books  and  the  adjacent 
window. 


with  a  graceful  sofa 
and  a  small  gate- 
legged table,  a  pleas- 
ing and  livable  group 
is  made,  as  the  dark 
masses  of  the  tapestry 
and  window  draperies 
serve  to  complete  the 
corner  furnishings. 


Quite  formal  and  obviously  studied  is  this 
lower  corner  group  of  French  furniture;  but 
how  many  of  us  would  have  placed  the 
table  so  cleverly  that  the  graceful  lines  of 
the  lamp  and  shade  were  outlined  agamst 
dark  window  draperies?  The  arrangement 
is  unique  and  interesting. 


An  invitation  to 
sink  into  the  arm- 
chair with  a  book 
from  the  neighbor- 
ing shelf  is  sug- 
gested by  the  cen- 
tre picture,  which 
shows  a  group 
so  pleasantly  ar- 
ranged that  we  are 
at  first  unaware  of 
its  purpose,  which 
is  to  fill  an  awk- 
ward   corner. 


19 


TWO 

ENGLISH 

LIVING 

ROOMS 


These  two  views, 
taken  from  opposite 
ends  of  the  same 
living  room  show  a 
modern  house  of 
Seventeenth  Cen- 
tury traditions  —  a 
period  which  is  not 
commonly  adapted 
by  architects  as  a 
basis  of  their  work 
to-day.  The  spirit  of 
the  room  —  as  of 
the  whole  house  — 
has  its  source  in 
hewn  beams  and 
rough  stone  flagging, 
and  sheathed  walls 
stained  and  waxed 
to  an  uneven  brown. 
The  few  and  simple 
furnishings  reflect 
the  sturdy  character 
of  this  early  English 
architecture;  while 
draperies  of  blue 
arras  cloth  add  rich- 
ness to  the  mellow 
brown  of  walls  and 
ceilings.  The  dec- 
orative purpose  of 
the  furnishings  here 
is  largely  to  supple- 
ment the  architec- 
tural features  of  the 
house 


20 


OF 

WIDELY 

VARYING 

TYPES 


In  marked  contrast  to 
the  earlier  period  of 
English  architecture 
is  this  Gothic  house, 
in  which  so  large  a 
proportion  of  interest 
centres  in  bright  hued 
fabrics  and  promi- 
nent groupings  of 
furniture  The  pale 
stucco  walls  serve  as 
background  for  strik- 
ing color  effects,  and 
the  dark-beamed  ceil- 
ings are  balanced  by 
masses  of  heavy  dra- 
peries and  sombre 
floors.  There  is  still 
that  feeling  of  rich- 
ness and  solidity 
which  characterizes 
English  interiors;  but 
It  is  interesting  to 
compare  this  room 
with  the  one  on  the 
opposite  page  and 
note  by  what  differ 
ent  methods  these 
qualities  are  obtained 


21 


For  the  formal  high-studded  room,  window  draperies  of  heavy  brocade  are  rich  and  colorful.  The  valance  is 
shaped  and  hung  after  an  old  pattern,  and  is  edged  with  a  short  fringe  to  soften  the  lines  and  give  an  appropriate 
finish  A  heading  of  the  brocade  is  used  at  the  top.  All  the  woodwork  around  the  windows  is  concealed  by 
these  draperies;  but  where  it  is  desired  to  show  this,  the  curtains  may  with  equally  good  effect  be  hung  inside 
the  window- frames. 

22 


Curtains  and  Hangings 


There  is  nothing  that  will  so  com- 
pletely make  or  mar  a  room  as  the  hang- 
ings. Of  course,  color  is  an  all-important 
element  in  selecting  materials,  but  that 
cannot  be  adequately  discussed  without 
color-plates  or  textiles  as  a  basis  for  study. 
Color  is  by  no  means  the  only  considera- 
tion, however,  for  its  effect  may  be  wholly 
lost  if  design  and  arrangement  are  not 
properly  combined  with  it. 

The  kind  of  curtains  to  be  chosen  de- 
pends primarily  on  the  architecture  of 
the  room  and  the  character  of  the  fur- 
nishings. A  high-studded  room  with 
large  windows  calls,  as  a  rule,  for  cor- 
respondingly formal  draperies  ■ —  heavy 
silks,  brocades,  or  linens,  hung  in  long 
folds,  with  a  wide  valance  and  not  in- 
frequently a  band  heading  at  the  top. 
The  full-page  illustration  opposite  shows 
the  type  of  hanging  most  appropriately 
used  for  such  rooms,  although  the  mate- 
rial need  not  always  be  so  costly  or  the 
valance  so  elaborately  fashioned. 

In  a  room  of  smaller  dimensions,  especially  as  regards  height, 
the  same  heavy  materials  may  be  used,  but  the  valance,  if  any, 
need  not  be  so  wide.  Moreover,  the  smaller  room  permits  the 
use  of  materials  lighter  in  both  weight  and  character,  such  as 
chintz,  poplin,  sunfast,  or  even  the  washable  fabrics  if  desired. 
The  choice  among  all  these  should  depend  partly  upon  personal 
taste  and  largely  upon  the  character  of  the  furnishings,  although 
there  is  considerable  latitude  these  days  as  regards  appropriate 
combinations  of  furniture  and  hangings. 

The  relation  between  the  draperies  of  a  room  and  the  rest  of 
the  furnishings  and  decorations  is  perhaps  the  most  important 
question  of  all.  For  example,  when  may  a  figured  curtain- 
material  be  used  in  combination  with  a. figured  wall-paper?  It 
is  difficult  to  answer  this  by  any  general  statement,  but  it  is  safe 
to  say  that,  unless  the  wall-paper  design  is  very  inconspicuous, 
the  best  course  is  to  use  plain  hangings  of  a  color  which  will  har- 
monize or  contrast  with  the  principal  colors  on  the  walls.  This 
does  not  mean  that  the  curtain  material  must  be  of  one  solid 
color,  —  a  gold  or  silver  thread  may  run  through  mulberry  or 
blue,  or  various  colors  be  interwoven  to  produce  an  irridescent 
effect,' — but  merely  that  there  should  be  no  design  to  rival  that 
of  the  walls  and  thus  give  a  confused  and  restless  feeling  to  the 
room.  On  the  other  hand,  an  entire  absence  of  design  in  both 
wall  and  curtain  treatment  is  flat  and  monotonous  to  the  eye, 
unless  the  colors  and  textures  are  so  cleverly  combined  as  to 
provide  sufficient  interest  in  themselves.  The  floor-covering 
must  also  be  taken  into  account  in  the  selection  of  hangings. 
A  particularly  striking  rug  will  usually  dominate  the  room  in 
which  it  is  placed,  and  a  careful  selection  of  curtain  material, 
subordinate  in  interest  to  the  rug,  is  required. 

Uniformity  in  curtains  for  the  sake  of  outward  appearance 
may  be  desirable  for  the  town  house,  but  generally  speaking 
this  is  not  important.  If  circumstances  make  it  desirable  to 
have  certain  rooms  or  floors  curtained  alike,  this  may  be  inter- 
estingly done  by  developing  in  each  of  the  rooms  so  treated  a 
different  color-note  from  the  curtain  material  selected.  This 
will  give  a  variety  in  decorations  while  preserving  the  desired 
effect  of  uniformity  on  the  exterior.  Another  way  of  solving 
this  problem  is  to  use  curtains  of  white  or  cream  net,  or  a  neutral 
material  such  as  casement  cloth,  throughout,  in  which  case  any 
color  schemes  may  be  developed  in  the  various  rooms.  Many 
houses  of  English  type  are  effectively  treated  in  this  manner. 

Casement  windows  seem  to  present  more  difficulties  than  the 
ordinary  double-sash    type,  although  their  possibilities  for  at- 


tractive decoration  are  really  far  greater. 
From  a  purely  construction  point  of  view, 
casements  should  always  open  outward, 
since  this  is  the  only  way  in  which  they 
can  be  made  absolutely  weather- tight. 
Under  these  circumstances  the  curtain 
problem  is  easy  to  solve,  as  side  drapes, 
with  or  without  valance,  can  be  hung  in 
the  usual  manner.  If,  on  the  contrary,  the 
casements  open  inward,  draperies  are  a 
source  of  annoyance  and  should  be  hung 
as  illustrated  on  a  subsequent  page  of 
this  chapter. 

Doorways  are  perhaps  more  of  a  prob- 
lem than  windows,  and  certainly  there  is 
less  choice  in  the  matter  of  materials,  for 
the  sheer  fabrics  are  neither  attractive  nor 
practical  for  this  purpose  except  as  they 
may  be  fastened  on  the  glass  sections  of 
French  doors.  Whether  or  not  the  door- 
ways of  a  room  should  be  curtained  like 
the  windows  is  a  question  which  must  be 
decided  on  the  merits  of  the  individual 
case.  To  repeat  at  the  doorway  the  ma- 
terial used  at  three  or  four  windows  in  the  room  is  generally  a 
mistake,  unless  the  particular  fabric  is  so  subdued  in  coloring 
and  design  as  to  be  inconspicuous  in  any  quantity. 

The  real  function  of  hangings  in  a  room  is  to  soften  the  abrupt 
lines  of  the  wall  openings,  whether  doors  or  windows,  thus  serv- 
ing as  a  frame  for  a  view  out  of  doors  or  into  another  room. 
Their  decorative  value  may  be  made  to  count  for  much,  pro- 
vided the  materials  are  well  chosen  and  tastefully  hung;  but  if 
either  color  or  design,  no  matter  how  beautiful  in  itself,  is  so 
conspicuous  as  to  draw  the  eye  continually  from  other  objects  in 
the  room,  then  the  frame  has  run  away  with  the  picture  and  the 
room  will  produce  a  restless  and  unpleasant  effect  upon  the  oc- 
cupants. It  is  well  to  remember  also  that  the  primary  purpose  of 
windows  is  the  admission  of  light  and  air,  and  if  heavy,  non- 
translucent  materials  are  used  for  curtains,  there  will  be  less  of 
both  in  the  room.  It  is  always  wise  to  experiment  with  a  good- 
sized  piece  of  curtain  material  under  actual  conditions  before 
making  a  selection.  The  transmission  of  light  through  colors  will 
greatly  affect  the  appearance  of  the  room  and  the  material,  and 
a  design  which  has  charm  and  character  under  direct  light  may 
fade  into  a  monotonous  neutrality  if  seen  with  the  light  behind 
it.  The  question  whether  or  not  to  use  shades  in  combina- 
tion with  curtains  is  one  which  frequently  presents  itself  for 
solution.  Most  people  prefer  shades  of  some  kind  for  regulating 
the  admission  of  light,  if  for  no  other  purpose.  Their  advantage 
in  a  bright  sunny  room  is  obvious,  but  there  are  circumstances 
under  which  they  may  quite  as  well  be  omitted,  as,  for  example, 
where  a  room  is  shaded  and  somewhat  darkened  by  an  adjoining 
porch,  or  where  double  sets  of  curtains  are  sufficient  to  temper 
the  light  at  the  windows.  Quite  aside  from  their  practical 
value,  however,  shades  have  lately  been  in  favor  because  of 
their  decorative  possibilities.  Painted  designs  in  colors  can  be 
effectively  added  to  a  plain  linen  shade  by  anyone  who  has 
talent  in  that  direction ;  and  heavy  lace,  fringe,  and  crochet  are 
often  introduced  into  the  border  with  good  effect.  Glazed 
chintz  is  used  for  windows  of  a  sun-porch  or  summer  living- 
room,  and  frequently  constitutes  the  only  decoration  in  such 
cases,  although  side  drapes  and  valance  of  a  plain  material  can 
be  hung  in  combination  with  them. 

There  are  many  interesting  ways  of  using  the  great  variety  of 
fabrics  found  nowadays  in  the  shops,  and  one  of  the  fascinating 
things  about  curtains  is  that  with  the  simplest  and  least  ex- 
pensive materials  and  often  with  only  a  small  expenditure  of 
time  and  labor,  the  most  charming  results  may  be  accomplished. 


23 


Curtaining  the  Over-sized  Window 


For  the  dining-room  windows,  a 
Dutch  effect  in  sheer  curtains  af- 
fords light  and  a  pleasant  outlook, 
while  dark,  full-length  draperies 
give  the  necessary  height  and 
character  to  the  room. 

A  GROUP  of  casement  windows  in 
the  bedroom  (centre  below)  may 
have  white  net  shirred  on  rods  at 
both  top  and  bottom  of  the  win- 
dows, with  a  narrow  heading  to 
give  a  finish,  and  figured  chintz 
for  a  pleated  valance  and  side 
draperies. 

A  COMBINATION  of  window-shades 
and  heavy  velour  draperies  is 
sometimes  used  for  casements,  the 
shades  having  a  fringe  finish.  The 
draperies,  plant-jar  and  dark 
panel  strips  of  the  window-seat 
contrast  agreeably  with  light  walls 
and  woodwork. 


Both  glass  curtains  of  a  sheer 
material  and  overdrapes  of  silk, 
chintz,  or  linen  are  usually  needed 
for  a  large  window  like  that  above, 
and  a  valance  is  almost  imperative 
for  good  effect. 

Small  horizontal  windows  (centre) 
are  usually  better  without  a 
valance,  as  this  tends  to  accentuate 
their  width,  but  a  drapery  mate- 
rial may  be  hung  at  each  end  of  a 
group  of  these  windows,  and  also 
at  their  intersections,  if  desired. 

The  plain  shaped  valance  is 
quaintly  formal  and  suggests  the 
newer  forms  of  decoration.  Its 
stiffness  is  relieved  by  soft  folds 
of  white  muslin  used  at  each  of  the 
windows  in  this  group. 


24 


DRAPERIES 

FOR  THE 

DOORS 


(_i....-  v;  '  :>  ^  pcning  from  bedroom 
to  sleeping  porch  need  not  be  draped 
unless,  as  here,  a  touch  of  bright  cre- 
tonne is  desired  for  decorative  effect. 
These  curtains  are  hung  on  rods  at 
the  top  of  the  doors  themselves  in- 
stead of  on  the  casing  over  the  doors. 


Austrian  shades  of  soft  silk  may 
serve  the  purpose  of  both  glass  cur- 
tains and   over-draperies  on  Frenc 


A  VERY  unusual  treatment  of  glass 
doors  is  shown  above,  the  prominence 
of  the  drapery  and  wall-paper  design 
serving  to  emphasize  the  deep  shaped 
valance  and  full  drapes.  Three- 
quarter  length  glass  curtains  are 
shirred  on  the  doors,  leaving  small 
4   uncovered  sections  of  the  glass  above. 


doors  in  a  formal  type  of  room.  The 
door  in  the  oval  illustration  is  effec- 
tively draped  in  this  manner. 


A  PAIR  of  double 
door.!  may  some- 
times be  treated 
like  windows,  es- 
pecially when  their 
glass  sections  are 
of  similar  propor- 
tions. In  some 
cases  this  might  be 
monotonous,  but 
in  the  dining-room 


shown  here  the 
effect  is  good  and 
gives  a  touch  of 
individuality.  The 
window  treatment 
varies  from  that 
of  the  doors  only 
in  the  addition  of 
tie-backs  made  of 
bands  of  the  drap)- 
ery  material. 


25 


Curtaining  the  Casement  Window 


When  casement  windows  open  in 
and  draperies  are  used,  this  is  what 
generally  happens.  The  remedy  is 
to  be  found  in  the  arrangement  shown 
in  the  lower  right-hand  corner  of  this 
page. 


An  unobtrusive  line  of  color  on  a 
neutral  background  may  be  used  for 
draperies  when  color  emphasis  cen- 
tres elsewhere  in  the  room.  Glass 
curtains  of  shirred  net  may  accom- 
pany the  draperies. 


A  DUTCH-window  effect  is  possible, 
even  with  a  casement.  The  curtain 
of  shirred  net  or  scrim  is  shirred  on 
two  rods  and  reaches  halfway  to  the 
sill.  Below  this  on  either  side  fall 
narrow  draperies  of  chintz  or  figured 
silk. 


Painted  shades  arranged  to  draw 
over  shirred  curtains  are  a  novel  and 
interesting  combination.  The  net 
or  silk  of  the  curtains  softens  the 
sterner  qualities  of  the  linen  shades, 
while  serving  a  practical  end  in  modi- 
fying the  light. 


The  painted  shade  has  found  favor 
with  those  who  like  to  add  a  modern 
touch  to  their  French  doors  and  win- 
dows. The  straight  valance  is  in 
keeping  with  this  treatment,  and  the 
tassels  at  each  end  match  those  on 
the  shades. 

The  annoymg  behavior  of  draperies 
when  casements  are  opened  inward 
may  be  avoided  by  shirring  curtains 
at  top  and  bottom  of  a  light  wooden 
frame  hung  inside  the  casements. 
This  neat  and  convenient  arrange- 
ment has  the  advantage  of  admitting 
more  light  than  the  usual  method. 


26 


Problems  Which  are  Sometimes  Troublesome 


It  is  always  an  open 
question  whetiier  or 
not  a  valance  is  de- 
desirable;  but  even 
more  important  is 
the  choice  of  a  suit- 
able material.  It  is 
a  grave  mistake  to 
assume  that  any 
pattern  which  in 
itself  is  pleasing  to 
the     eye     will     be 


equally  satisfying 
when  hung  at  the 
window.  This  bold 
figured  design  is  at- 
tractive, but  is  far 
too  strong  for  the 
use  to  which  it  has 
been  put.  It  is  a 
case  of  the  frame 
running  away  with 
the  picture. 


Far  more  restful  is 
this  dainty  pattern, 
with  a  stripe  which 
gives  a  suggestion  of 
height  to  the  room. 
This  feeling  is  fur- 
ther emphasized  by 
the  use  of  a  plain 
white  valance  in- 
stead of  the  figured 
material.  Try  look- 
ing first  at  the  pic- 


ture above  and  then 
at  this  one.  Your 
eye  will  feel  the  dif- 
ference even  if  you 
do  not  feel  it  in 
more  subtle  ways. 
The  upper  picture 
explains  why  it  is 
that  so  many  seem- 
ingly well-decorated 
rooms  make  one  feel 
restless  and  a  bit 
uncomfortable. 


The  problem  of  a  double  curtain-rod  is  solved 
here  by  having  two  short  rods  made  for  the 
over-draperies  and  hinging  them  on  to  the 
casing.  The  drawing  above  shows  how  these 
rods  swing  back  from  the  window  when  it  is 
desirable  to  keep  dampness  from  penetrating 
the  draperies  or  strong  sunlight  from  fading 
them. 


Arched  windows  are  nearly  always  difficult 
to  curtain  attractively.  In  this  case  a  sheer 
white  net  or  scrim  curtain  is  fastened  at  the 
top  on  the  under  edge  of  the  arched  casing. 
The  bottom  of  the  curtain  is  shirred  on  a  rod 
running  across  at  the  top  of  the  sash,  and  a 
second  rod,  placed  directly  back  of  this  one, 
holds  the  side  draperies  and  is  hidden  by  the 
narrow  heading  which  finishes  the  scrim  cur- 
tain above. 


FuLL-length  curtains  may  also  be  used  for  the 
arch  window  in  this  manner.  Plain  goods 
edged  with  a  gimp  or  narrow  fringe  are  usually 
more  attractive  than  a  figure  for  this  purpose, 
especially  if  the  tie-backs  are  to  be  used  ;  but  a 
fairly  heavy  material  is  advisable,  since  it  hangs 
better  and  requires  less  fullness  at  the  top. 


27 


SOMETHING 

UNCONVENTIONAL 

IN 

CURTAINS 


Jade-crf.en  taffeta  curtains  are  attractively 
combined  with  an  over-ruffle  of  linen  in 
beige  and  green  stripes,  with  black  picot 
design,  and  finished  with  alternating  beige 
and  black-silk  fringe.  The  taffeta  drapes 
are  edged  with  an  inch-and-a-quarter-wide 
band  of  the  same  material  gathered  on  a 
cord,  and  tie-backs  are  similarly  made.  A 
novel  feature  is  the  white  curtain  of  tulle 
finished  with  a  deep  ruffle  ten  inches  on  the 
sides  and  five  inches  in  the  centre. 


For  the  kitchen  or  bathroom, 
curtains  of  unbleached  cotton 
cloth,  edged  with  an  inch-wide 
ruffle  of  the  same  material  are 
practical  and  inexpensive.  At 
the  window  shown  above,  the 
upper  sash-curtains  are  gathered 
very  full  and  held  back  by  curved 
pieces  of  wood  screwed  to  the 
window  casing  and  painted  a  few 
shades  deeper  than  the  curtains. 


Rather  quaint  and  decidedly  out  of  the 
ordinary  are  these  fluted  bands  of  muslin, 
about  eight  inches  wide,  hung  on  either  side 
of  the  window  in  place  of  draperies.  A 
shaped  linen  ruffle,  in  this  case  of  the  same 
material  as  the  bedspread,  and  edged  with 
black  ball  fringe,  is  hung  at  the  top  of  the 
window,  with  a  valance  board  above. 


I^'OR  a  certain  type  of  room  the 
painted  shade  is  a  delightful  in- 
novation. This  long  French  win- 
dow at  the  right  makes  an  admir- 
able setting  for  such  a  form  of  dec- 
oration, since  the  plain  dark  casing 
forms  an  agreeable  contrast  to  the 
light  background  of  the  shade 
with  its  brilliantly  colored  flower 
design  and  border.  A  fringe  with 
tassel  serves  as  a  finish  and  re- 
lieves the  severity  of  straight  lines. 


Curtains  of  mulberry  and  blue  linen  are 
edged  with  a  fold  of  blue  and  finished  across 
the  top  with  a  heading  of  the  curtain  ma- 
terial gathered  on  a  cord  on  both  edges. 
White  muslin  serves  as  an  under-curtain, 
which,  although  not  as  sheer  as  the  cus- 
tomary net  or  scrim,  reflects  considerable 
light  in  the  room.  With  a  scheme  of 
painted  furniture  and  rag  rugs  in  harmon- 
izing tones,  these  draperies  are  both  digni- 
fied and  charming. 


28 


APPROPRIATE 

DRAPERIES 

FOR  THE 

BEDROOM 


A  BROAD,  high  window  such  as  the  one  shown  in  the  above  illustration  can 
stand  a  deep  valance  of  prominent  design,  contrasting  with  the  plain 
drapery  material.  For  this  rather  formal  bedroom  in  a  city  apartment 
three  sets  of  curtains  are  used  at  the  windows,  sheer  white  glass  curtains 
reaching  to  the  sill,  colored  hangings  a  few  inches  longer,  and  heavy  over- 
draperies  reaching  to  the  floor.  The  valance  is  of  figured  cretonne  bor- 
dered with  fringe. 

For  the  Colonial  bedroom  nothing  is  daintier  than  simple  white  muslin 
with  a  cotton  ball  fringe,  as  shown  in  the  left-hand  illustration.  Curtains 
like  these  are  very  practical  and  never  become  tiresome.  They  have  the 
added  advantage  of  harmonizing  with  any  color  scheme. 


Another  apartment  bedroom  of  in- 
dividual charm  has  draperies  of  gay 
chintz,  with  deep  valance  of  the 
same  material.  These  curtains  hang 
only  to  the  sill,  and  are  supplemented 
by  sheer  glass  curtains  of  the  same 
length.  The  design  of  the  chintz,  in 
a  broken  stripe,  is  particularly  strik- 
ing and  constitutes  the  principal 
decorative  feature  of  the  room. 


2t* 


A  GROUP  of  books  in  colorful  bindings  may  play  an  important  part  in  the 
decorative  scheme  of  a  room.  Placed  in  a  recess  over  the  mantel,  these 
volumes  serve  the  same  purpose  as  a  vase  or  wall  hanging. 


Books  and  Their  Placing 


As  for  the  inherent  qualities  of  books, —  their  vast  wealth  of 
knowledge  and  entertainment  and  their  friendly  significance  to 
those  who  live  among  them, —  it  is  not  our  privilege  here  to  dis- 
cuss this  fascinating  subject,  or  even  to  give  more  than  passing 
mention  to  the  arrangement  and  furnishing  of  the  library,  for 
very  few  houses  built  to-day  can  boast  of  a  room  devoted  ex- 
clusively to  books.  On  the  other  hand,  it  rarely  happens  that  a 
home  does  not  contain  at  least  a  few  cherished  volumes,  which 
must  be  kept  and  cared  for  in  such  manner  as  will  give  the  most 
enjoyment  to  those  who  use  them. 

The  living-room  is  the  natural  environment  for  the  average 
family  library,  and  here  the  books  may  behoused  in  a  number 
of  convenient  and  interesting  -ways.  The  .built-in  bookcase  is 
in  reality  a  part  of  the  architecture  of  the  house  and  can  hardly 
be  considered  as  furniture,  yet,  when  filled  with  books,  it  cer- 
tainly becomes  a  decorative  feature  of  the  room  and  can  there- 
fore quite  properly  be  discussed  in  company  with  the  other  fur- 
nishings. If  no  provision  can  be  made  for  a  built-in  bookcase 
of  some  sort,  then  we  must  resort  to  one  of  two  other  alternatives 
—  either  a  suitable  arrangement  of  shelves  must  be  made  and 
fitted  to  some  particular  section  of  the  living-room  wall-space, 
or  else  the  shops  must  be  searched  for  a  case  which  is  frankly  a 
piece  of  furniture  and  which  makes  no  pretense  of  belonging  to 
its  background.  It  is  not  impossible  to  find  a  bookcase  of  this 
sort  which  will  give  complete  satisfaction,  but  it  is  unusual,  and 
expensive.  The  space  reserved  for  such  a  piece  of  furniture 
may  often  be  used  to  better  advantage  by  having  a  carpenter 
build  shelves  of  exactly  the  right  dimensions,  and  finish  them 
with  stain  or  paint  to  match  the  woodwork  of  the  room. 

The  question  whether  or  not  a  bookcase  should  have  doors 
is  entirely  a  matter  of  preference.  Of  course  that  practical 
problem  of  dust  is  ever  before  us  if  we  decree  that  there  shall  be 
no  doors  to  our  bookcase;  but  dismissing  this  objection,  there  is 
no  doubt  whatever  that  doors  detract  somewhat  from  the  deco- 


rative value  of  the  books,  besides  being  an  inconvenience,  and 
often  a  positive  source  of  annoyance,  in  themselves.  If  there- 
fore doors  are  added  to  the  shelves,  they  should  be  of  the  swing- 
ing rather  than  the  sliding  type,  and  equipped  with  good  hard- 
ware. Sliding  doors  invariably  give  trouble,  because  the  frame 
expands  and  contracts  with  temperature  changes,  and  moreover 
such  doors  give  access  to  only  a  limited  section  of  the  books  at 
one  time. 

In  the  arrangement  of  books  so  as  to  get  the  best  possible 
effect  in  the  room,  the  matter  of  size  is  not  so  important  as  is  the 
color  combination  of  bindings.  For  books  which  are  constantly 
in  use,  however,  a  classification  by  subject  is  usually  of  far 
greater  value  than  a  satisfying  color  scheme,  and  nothing  so 
contributes  to  the  livable  quality  of  a  room  as  a  collection  of 
books  which  give  evidence  of  being  on  intimate  terms  with 
members  of  the  household. 

As  to  the  strictly  decorative  value  of  books,  this  is  obvious 
when  one  considers  the  range  and  elegance  of  the  binder's  art. 
There  has  been  in  past  years  a  tendency  to  purchase  books  in 
sets  with  similar  bindings,  but  except  for  the  works  of  standard 
authors,  which  will  always  find  a  market  in  such  form,  the  de- 
mand upon  the  modern  bookshops  for  this  wholesale  literature 
is  very  slight.  The  purchase  of  a  single  book,  whether  for  one's 
self  or  for  a  friend,  has  become  an  intimate  art,  and  in  its  selec- 
tion as  much  individuality  may  be  expressed  as  in  the  choice  of 
a  painting.  The  appearance  of  a  book  naturally  plays  an  im- 
portant part  in  its  appeal  to  the  buyer,  especially  to  those  who 
appreciate  color,  texture,  and  workmanship.  Books  should  not, 
of  course,  be  purchased  solely  on  the  merits  of  their  bindings ; 
but  a  half-dozen  handsomely  bound  works,  correctly  placed  on  a 
table  between  book-ends,  may  be  more  effective  than  a  costly 
vase ;  and  a  collection  of  well-chosen  volumes,  tastefully  ar- 
ranged on  shelves  or  in  a  case  against  a  wall-space,  invariably 
adds  both  color  and  composition  to  any  room. 


30 


A  cosv  window-seat  is  always  a  pleasing  adjunct  to  a  book- 
shelf, especially  when  both  these  features  have  been  so  well 
thought  out  in  their  relation  to  each  other  and  to  the  room  as 
a  whole.  The  shelves,  which  are  built-in,  have  convenient 
drawers  and  cupboards  below. 


It  is  a  natural  instinct  with  architects  to  secure  a  satisfying 
balance  by  placing  bookshelves  on  both  sides  of  a  fireplace 
—  a  tendency  which  often  works  out  most  happily  for  the 
owner  from  a  livable  point  of  view.  The  occupants  of  this 
house  evidently  appreciate  the  convenience  of  the  books 
and  use  them  frequently. 


Unusually  symmetrical  is  this  treatment  of  arched  bookshelves  on  either  side  of  a  fireplace.  The  dark 
value  of  the  books  and  the  fireplace  is  strongly  contrasted  with  the  light  value  of  the  woodwork,  and  both 
dark  and  light  masses  are  made  interesting  in  themselves  by  the  fine  scale  of  detail.  Pleasing  color-efFects 
are  brought  out  by  the  red  brick  of  the  fireplace  and  the  book  bindings. 

31 


Most  bookshelves  built  on  the  floor  are  from 
three  and  a  hall'  to  five  feet  high ;  but  where  there 
is  room  for  a  case  along  the  entire  wall.,  it  is  pleas- 
ant to  decrease  the  height  to  about  three  feet,  in 
order  to  give  more  wall  space  above  and  avoid  a 
crowded  feeling  in  rhe  room  This  example  at 
the  left  IS  especially  pleasing  —  partly,  perhaps, 
because  ail  the  furnishmgs  are  so  tastefully 
chosen  and  arranged 


If  glass  doors  are  to  be  used  on  the  bookshelves,  their  design 
should  be  considered  in  relation  to  the  architectural  detail  of  the 
room.  Very  few  doors  are  as  well  thought  cut  as  the  ones  shown 
at  theright.  which  echo  the  Imes  of  the  adjacent  panehng  and  pro- 
vide an  element  of  interest  in  the  decorative  scheme. 


When  there  is  no  oppor- 
tunity for  built-in  book- 
shelves, cases  like  these 
may  be  made  and  fin- 
ished to  match  the  wood- 
work of  the  room.  It  is 
usually  wise  to  use  a 
simple  moulding  around 
the  top,  and  for  practical 
reasons  to  make  the 
shelves  adjustable,  so 
that  books  of  different 
heights  may  be  accom- 
modated. The  appear- 
ance is  better  if  doors  are 
omitted. 


62 


If  not  built-in,  book- 
cases should  be  quite 
frankly  a  part  of  the 
furnishings,  and  as  such 
should  harmonize  in  de- 
sign, materials,  and  pro- 
portion with  the  other 
furniture  of  the  room. 
Hardly  a  better  example 
of  this  could  be  found 
than  in  the  illustration 
here,  which  shows  twin 
bookcases  of  the  William 
and  Mary  period,  cor- 
rectly placed  in  appro- 
priate surroundings.  The 
cases  as  well  as  the  books 
within  them  add  greatly 
to  the  charm  and  dis- 
tinction of  the  room  from 
a  decorative  standpoint. 


The  bookcases  on  either  side  of  the 
fireplace  in  the  left-hand  illustration 
fill  the  entire  end  of  this  room  and 
have  evidently  been  installed  since 
the  house  was  built.  They  are,  how- 
ever, a  part  of  the  interior  finish  and 
are  so  treated.  The  arrangement  is 
well  balanced  and  livable. 


A  CORNER  bookcase  such  as  the  one  shown  at  the  right  does  not 
present  so  good  an  appearance,  since  it  interrupts  to  some  extent 
the  symmetry  of  the  room ;  but  when  the  finish  is  plain  and  un- 
obtrusive, as  here,  and  the  need  for  books  in  the  room  is  urgent, 
the  end  amply  justifies  the  means. 


83 


In  an  old  Southern  home  a  quaint  group  of  highly  colored  mezzotints  is  tastefully  hung  over  the  fireplace,  with  a  pewter 
plaque  as  the  central  feature  over  the  clock.  It  is  an  odd  arrangement,  but  peculiarly  satisfying  by  reason  of  its  perfect  sym- 
metry, and  illustrates  the  accomplishment  of  a  difficult  thing  —  the  successful  grouping  of  small  pictures.  Equally  unique  is  the 
color  scheme  of  violet  wall  paper,  which  makes  an  excellent  background  for  the  prints. 

34 


Pictures  and  Wall  Hangings 


The  choice  of  pictures  in  a  house  reflects,  more  accurately 
than  any  other  form  of  furnishing,  the  personal  taste  of  the 
owner.  Most  pieces  of  furniture  are  selected  for  practical  as 
well  as  aesthetic  purposes,  but  the  picture,  tapestry,  or  other  wall 
hanging  serves  no  useful  end,  and  must  be  chosen  either  on  its 
own  merits  or  for  its  contribution  of  color  and  interest  to  the 
general  decorative  scheme. 

A  common  fault  in  our  houses  is  an  overabundance  of  pic- 
tures. We  lack  the  Oriental's  true  sense  of  the  restfulness  of 
space,  and  must  needs  hang  on  every  square  yard  of  wail  some 
decoration  which,  worthy  enough  in  itself,  perhaps,  loses  effec- 
tiveness in  company  with  so  many  others.  The  saying  that 
"if  some  is  good,  more  is  better"  was  never  more  false  than  in 
the  case  of  wall-decorations.  Their  value,  both  in  individual  in- 
terest and  in  decorative  effect,  usually  increases  in  inverse  ratio 
to  their  quantity.  Yet  no  object  of  furnishing  can  be  made 
more  effective,  in  its  proper  use,  than  a  beautiful  picture  or 
textile  correctly  hung.  Not  infrequently  the  entire  color  scheme 
of  a  room  is  built  up  around  an  exquisite  painting;  but  to  do 
this  successfully  requires  skill  and  a  thorough  knowledge  of 
color  values. 

It  is  quite  possible  to  arrange  a  group  of  pictures  or  other 
hangings  so  that  their  number  will  not  detract  from  their  group 
interest.  Needless  to  say  there  must  be,  in  such  a  case,  some 
degree  of  similarity  or  harmony  among  the  pictures  which  con- 
stitute the  group.  The  full-page  illustration  opposite  is  an  ex- 
.  cellent  example  of  this.  The  four  pictures  over  the  mantel  are 
obviously  by  the  same  artist;  the  subjects  are  consistent  and 
the  method  of  framing  has  evidently  been  carefully  thought  out 
with  the  grouping  in  mind.  Here  is  an  instance  where  each  pic- 
ture gains,  rather  than  loses,  by  association  with  the  others  of 
the  group ;  and  so  well  is  the  balance  of  the  whole  preserved  and 
augmented,  not  only  by  the  arrangement  of  the  pictures  but  by 
the  further  ornaments  of  the  wall  and  mantel,  that  the  effect 
is  one  of  intense  interest  and  satisfaction. 

The  frame  is  a  very  important  part  of  a  picture,  which  is  used 
for  decorative  effect.  Fortunately  the  massive  and  over-elab- 
orate gilded  frames  of  an  older  generation  are  passing  from  us, 
in  company  with  the  spacious  rooms  which  alone  provided  a 


proper  setting  for  them.  One  of  these  heirlooms  hung  in  a 
house  of  modern  proportions  is  distinctly  out  of  scale ;  but  it  is 
often  possible  to  substitute  a  simpler  frame  of  lighter  appear- 
ance and  so  render  the  picture  suitable  for  use.  It  is  a  mistaken 
idea  that  pictures  with  different  kinds  of  frames  should  not  be 
used  in  the  same  room.  On  the  contrary,  a  certain  variety  in 
this  respect  is  pleasing  rather  than  otherwise,  but  the  frames 
must  be  studied  for  their  character  and  color  value  quite  as  much 
as  the  pictures  themselves.  No  rules  can  be  laid  down  in  this 
matter,  for  much  depends  upon  the  composition  of  the  room  as 
a  whole,  the  size  and  arrangement  of  the  pictures,  the  character 
of  their  subjects  and  the  mediums  used  to  portray  them.  One 
would  not,  for  example,  hang  a  delicate  Japanese  print  in  com- 
pany with  a  portrait  in  heavy  oils,  or  group  a  bit  of  water  color 
with  a  ponderous  engraving.  Oil  paintings,  by  the  way,  if  of 
any  considerable  size  or  strength  of  coloring,  are  apt  to  dominate 
a  wall  to  such  extent  that  it  is  unwise  to  attempt  to  combine 
other  types  of  pictures  with  them. 

Hanging  pictures  properly  is  a  matter  on  which  more  precise 
instructions  may  be  given.  In  most  cases  the  correct  height 
for  a  picture  is  the  level  of  the  eye  or  slightly  above.  Where 
there  is  paneling  on  the  walls,  it  is  usually  wiser  to  omit  pictures, 
but  if  they  are  to  be  used  they  should  conform  to  the  shape  of 
the  panels  and  should  be  hung  within  them  —  never  over  their 
intersections.  The  top  of  a  picture  should  hang  against  the 
wall  instead  of  away  from  it,  and  two  cords  or  wires  should  reach 
in  perpendicular  lines  to  the  fastener  on  the  moulding.  For 
heavy  pictures  this  is  a  measure  of  safety  as  well  as  an  improve- 
ment in  appearance  over  the  usual  method  of  diagonal  wiring. 
Small  pictures  look  better  fastened  directly  to  the  wall. 

Something  should  be  said  for  the  rising  popularity  of  textiles 
as  wall  decorations.  Tapestries,  Chinese  embroideries,  and 
peasant  draperies  of  great  beauty  are  for  sale  in  most  of  the 
shops  nowadays,  and  their  cost  is  no  greater  than  that  of  a  good 
picture.  In  fact  they  can  be  picked  up  at  some  of  the  smaller 
shops  for  remarkably  low  prices  and  their  quaint  designs  and 
rich  colorings  make  them  extremely  attractive  for  any  decorative 
purpose.  The  illustrations  to  follow  show  many  uses  of  textiles 
both  as  background  and  as  ornament. 


35 


We  may  well 
study  the  art  of 
the  Japanese  in 
composing  objects 
in  their  rooms  and 
upon  their  walls. 
This  house  is  the 
home  of  an  Amer- 
ican woman  in  this 
country,  but  from 
a  sojourn  in  the 
East  she  has 
gained  much  of 
value  which  has 
found  expression  in 
the  character  and 
arrangement  of  her 


furnishings.  Notice 
especially  the  un- 
usual grouping  of 
the  three  prints 
on  the  rear  wall. 
The  handsome  em- 
broidered fringed 
panel  on  the  left  is 
particularly  well 
chosen  for  this 
room,  which  has 
such  a  distinctly 
Eastern  flavor,  al- 
though it  does  not 
pretend  to  be  a 
literal  copy  of  any- 
thing Japanese. 


A  ROUGH  plaster  wall  is  the  best  background  for  wall  hangings,  especially  fabrics :  and  in  this  house,  which  is 
an  adaptation  of  the  old  Colonial  style,  an  antique  pewter  plate  has  been  combined  with  the  wall  hanging  to 
make  an  effective  decoration  over  the  plain  and  dignified  mantel. 

36 


Brick  walls  serve  admirably  as  a  back- 
ground for  a  tapestry  hanging,  especially 
when  furnishings  and  accessories  are  beau- 
tiful in  themselves  and  well  combined. 
The  tapestry  at  the  right  once  belonged  to 
an  English  marquis,  and  is  flanked  by  orna- 
mental iron  sconces  with  candles.  The 
tapestry,  with  its  warm  rich  colorings,  holds 
the  centre  of  interest  in  this  room.  The 
chairs  are  Fifteenth-Century  Italian,  with 
dull  green  brocade  coverings. 


f) 


^*4i::fla- 


mm 


A  Jacobean  wall  hanging  in  petit-point  contains  all  the  lovely 
Gobelin  colorings  with  yellow  cross-stitch  background,  and 
serves  the  same  decorative  purpose  as  a  tapestry.  There  might, 
however,  be  insufficient  contrast  between  the  hanging  and  its 
background  of  light  wall,  were  it  not  for  the  Spanish  painting 
hung  near-by,  which  strengthens  the  dark  values  of  the  hanging. 
The  American  chest  and  low  gate-legged  table  combine  admirably 
with  the  wall  decorations,  and  complete  a  group  which  not  only 
has  individual  interest,  but  which  deserves  attention  as  a  study 
in  composition. 


Another  interesting  use  of 
tapestry  is  displayed  in  the 
apartment  living-room  on 
the  right.  A  refectory  table 
and  altar  candlesticks  are 
used  in  combination  with 
the  hanging,  the  latter 
having  an  all-over  design 
which  is  not  interrupted  by 
the  objects  for  which  it 
serves  as  a  background. 
This  group  makes  a  very 
effective  treatment  for  the 
end  wall  of  the  room. 


37 


For  the  low-studded  room  with  wide  hearth  and  over- 
mantel, a  long  narrow  picture  is  the  best  choice  for  the  wall 
over  the  fireplace.  The  two  portraits  hung  on  either  side, 
approximately  square  in  their  proportions,  neutralize  the 
effect  of  so  many  horizontal  lines  and  prevent  a  feeling  of 
too  great  length  and  lack  of  height  in  the  room. 


A  CLEVERLY  arranged  group  of  pictures  composes 
well  with  the  furniture  in  the  illustration  to  the 
right.  The  frames  have  evidently  been  chosen 
with  this  arrangement  in  mind,  for  they  con- 
tribute largely  to  the  resulting  balance  and  sym- 
metry. 

A  PLEASING  variation  from  the  customary  pic- 
tures in  the  dining-room  is  the  use  of  china  as  wall 
decoration.  A  single  platter  hung  over  the  fire- 
place may  be  quite  charming  and  colorful,  or,  if 
one  is  fortunate  enough  to  possess  several  hand- 
some old  pieces,  they  may  be  arranged  in  a  well- 
proportioned  rack  hung  above  the  buffet  or  serv- 
ing table. 


38 


In  I  ahscMcc  ot  all  other  wall  dccuratioii,  and  the  individual  interest  in  these  tapestry  hangings,  gives  them  prominence 
among  the  furnishings  ot  this  dignified  room.  A  certain  refinement  of  feeUng  seems  inherent  in  good  tapestries  and  is  all 
the  more  marked  in  such  well-chosen  surroundings. 

The  corner  illustration  at  the  right  is  an  example  of  good  balance 
secured  by  combining  an  architectural  feature  with  purely  decorative 
objects  The  picture  groups  on  either  side  of  the  cupboard,  while 
pleasing  in  themselves,  do  not  draw  the  eye  from  the  principal  object  of 
interest  in  the  corner. 

It  is  much  more  difficult  to  hang  small  pictures  than  large  ones,  espe- 
cially if  they  are  varied  in  subjects,  frames,  values,  and  proportions. 
The  final  solution  is  usually  a  group  arrangement,  such  as  that  shown 
below. 


39 


Porch  and  Sun-room 


A  TYPE  of  sun-room  which  can  be  used  in  connection  with  either  the  houses  or  the  grounds. 
Although  furnished  like  a  room,  it  contains  pieces  which  are  commonly  found  on  the  terrace 
or  open  piazza. 


The  prevalence  of  the  porch  in  American  homes  has  become 
almost  a  national  characteristic  of  our  houses  and  is  due,  no 
doubt,  to  our  tendency  to  live  in  the  open  air  as  much  of  the  time 
as  climatic  conditions  will  permit.  But  even  those  who  do  not 
relish  the  open-air  features  of  a  porch  seem  to  be  aware  of  the 
necessity  for  a  room  which  gives  a  feeling  of  outdoors,  though 
it  may  be  protected  from  the  actual  rigours  of  temperature. 
Therefore  the  enclosed  porch,  or  sun-parlor,  as  it  is  frequently 
called,  becomes  an  important  adjunct  to  living-room  or  dining- 
room,  or  both,  and,  owing  to  its  informal  character  and  conse- 
quent opportunities  for  variety  of  treatment,  is  frequently  one 
of  the  pleasantest  and  most  lived-in  rooms  of  the  house. 

The  furnishings  of  the  porch  depend,  of  course,  largely  upon 
the  use  made  of  it  as  well  as  its  relative  size  and  importance  with 
relation  to  adjoining  rooms.  Wicker  and  painted  furniture  are 
the  most  generally  used  types  for  this  purpose  because  of  their 
.lightness  and  comparatively  low  cost.  If  the  porch  is  in  any 
way  exposed,  durability  of  furnishings  must  also  be  considered, 
unless  everything  is  to  be  moved  indoors  at  night ;  for  sudden 
temperature  changes  are  almost  as  injurious  to  furniture  as  a 
wetting,  and  there  is  little  except  the  old  hickory  or  other  forms 
of  rustic  furniture  that  will  long  survive  such  conditions. 

The  sun-room  presents  unrivaled  opportunities  for  gay 
chintzes,  cretonnes,  and  all  colorful  materials,  but  it  is  well  to 
buy  only  the  better  grades  to  prevent  fading.  The  sunfast 
textiles  are  about  the  most  reliable  in  this  respect,  although  very 
few  shops  will  guarantee  any  material  against  fading  if  it  is  ex- 
posed to  intense  and  more  or  less  constant  sunlight. 

Whether  or  not  color  is  to  be  emphasized  in  the  sun-room 
depends  largely  upon  its  location  and  surroundings.  Where  a 
particularly  fine  view  of  the  countryside  or  of  a  beautiful  garden 


is  offered,  attention  should  be  focused  upon  this  rather  than 
upon  the  fittings  of  the  room  itself.  In  such  a  case,  a  subdued 
scheme  of  colorings  and  design  would  best  serve  to  unify  in- 
terest. The  sun-room  may  be  developed  quite  independently 
of  any  other  rooms  in  the  house,  or  it  may  combine  and  carry 
out  the  color  scheme  of  a  room  from  which  it  opens.  The  size 
and  location  of  the  openings  will  determine  to  some  extent  what 
method  is  best  to  pursue  in  this  respect. 

A  plentiful  use  of  growing  things  in  the  sun-room  does  more 
to  create  an  outdoor  feeling  than  any  amount  of  decoration. 
Very  often  it  is  possible  to  have  a  plant  window  or  shelf  whereby 
a  group  of  plants  can  take  advantage  of  the  sunshine  and  at  the 
same  time  do  their  share  in  creating  the  atmosphere  of  an  indoor 
garden.  If  space  and  means  permit,  a  sun-parlor  may  contain 
a  small  pool  or  wall  fountain;  but  if  these  rather  expensive  fea- 
tures are  out  of  the  question,  a  very  charming  effect  can  be  ob- 
tained by  training  a  little  ivy  over  a  bit  of  wooden  lattice  fas- 
tened on  the  walls.  Lattice  is  apt  to  be  overdone  as  a  decorative 
feature  of  sun-rooms.  It  becomes  monotonous,  like  a  check- 
ered wall-paper,  and  unless  well  covered  with  vines,  should  be 
used  sparingly. 

Painted  furniture  is  quite  appropriately  used  in  combination 
with  reed  and  wicker  for  any  type  of  porch,  and  is,  of  course,  more 
practical  if  meals  are  to  be  served  in  this  room.  Rugs  of  fibre 
in  a  wide  variety  of  shapes,  designs,  and  colorings  are  available 
for  porch  use,  and  add  to  the  outdoor  feeling,  while  giving  a 
much  more  cosy  appearance  than  a  bare  wood  or  tile  floor. 
There  is,  in  fact,  such  a  quantity  of  attractive  porch  furnishings 
to  be  had  nowadays  that  there  seems  little  excuse  for  failing 
to  make  the  porch  a  source  of  enjoyment  for  as  long  a  season  of 
the  year  as  its  protection  from  the  weather  will  allow. 


40 


The  gray  background 
of  walls  in  the  living- 
room  is  preserved 
throughout  a  porch 
which,  with  its  wide 
French  doors,  seems 
like  an  extension  of 
the  larger  room. 
There  was  ample  op- 
portunity here  for  a 
quantity  of  furniture, 


but    good    judgment 
was  used  in  selecting 
only    such    pieces    as 
are  required  for  com- 
fort.    Notice  how  the 
•,    rugs    and    table-tops 
.    repeat  the  curves  of 
>    the  arched  windows, 
thus     relieving      the 
monotony     of     long 
parallel  lines. 


Black  and  gold  are 
the  colors  used  for 
the  furniture  on  this 
breakfast  porch  at 
the  left,  the  floors, 
walls  and  hangings 
of  which  are  in 
varying  tones  of 
sand  color.  The  ivy 
climbing  over  a  bit 
of  lattice  in  the  cor- 
ner is  an  attractive 
feature,  and  a  shelf 
over  the  radiator 
beneath  the  win- 
dows provides  for 
other  plants. 

A  WIDE  piazza 
(right)  runs  the  en- 
tire length  of  the 
house  and  is  lighted 
by  large  arched  win- 
dows, glassed  in 
for  the  winter  and 
screened  in  summer. 


This  porch  seems 
fairly  to  grow  in  the 
midst  of  greenery, 
and  is  sufficiently 
sheltered  to  be  used 
as  a  sleeping  or 
breakfast  porch,  al- 
though only  screens 
separate  it  from  the 
outdoor  world.  It 
is  probably  the  sub- 
dued light  and  the 


sense  of  protection 
given  by  the  vines 
that  make  this  seem 
such  a  restful  spot. 
The  furnishings  are 
extremely  simple, 
but  are  very  well 
chosen,  as  they  do 
not  detract  atten- 
tion from  the  beau- 
tiful setting. 


41 


A  GRAPE  arbor  adjoining  this  remodeled  farmhouse  gave  a  rare  opportunity  for 
making  an  outdoor  dining-room.  Stone  flagging  made  an  excellent  floor,  and  a  cop- 
ing of  stone  around  the  edge  served  to  enclose  the  arbor  and  make  it  seem  a  part  of 
the  house  rather  than  of  the  grounds.  Simple  painted  furniture  is  in  keeping  with 
the  character  of  the  house,  and  is  practical  as  well. 


A  PORCH  which  has  the  same  floor-level  as  the  rooms  from  which  it  opens  always  seems  more  a  part 
of  the  house  than  one  to  which  one  must  step  up  or  down  on  entering.  Yet  none  of  the  outdoor 
features  of  the  true  porch  are  lacking  here,  for  the  furniture  and  rugs  are  of  the  type  customarily 
used  for  this  purpose  and  there  is  a  profusion  of  green  things.  The  small-leaved  vine  growing  on 
walls  and  ceiling  is  particularly  luxuriant,  owing  to  the  fact  that  earth-spaces  are  arranged  in  the 
brick  floor,  allowing  the  roots  of  the  vine  to  spread  and  find  nourishment  without  restraint. 

42 


An  open  porch  which,  nevertheless,  offers  shelter  from  sun 
and  rain,  may  be  used  for  breakfast  quite  as  well  as  for  other 
living  purposes.  Tiles  for  the  floor  are  easily  kept  clean  and 
dry,  besides  giving  opportunity  for  color-effect;  and  a  sim- 
ple stained  or  painted  table  will  not  suffer  too  much  from 
dampness  or  temperature  changes. 


Wall  and  curtains  are  kept  plain  in  this  sun-porch 
above,  but  the  black  wicker  furniture  is  upholstered 
in  flowered  cretonne,  which,  with  the  gay  color  notes  of 
the  many  plants  and  growing  flowers,  is  thrown  into 
bold  relief  against  the  neutral  background.  The  floor- 
tiles  and  rug  are  slightly  darker  in  tone  than  the  sand- 
colored  walls. 


A  COBBLESTONE  foundation  is  extended  below  to  form 
the  lower  part  of  the  porch  wall  and  is  left  unfinished  on 
the  inside,  but  a  substantial  wooden  plant  shelf  over  the 
top  of  the  stones  counteracts  the  rustic  effect  and  serves 
a  practical  purpose  as  well.  There  is  abundance  of 
light  in  this  breakfast  porch  due  to  the  transoms  over 
the  windows. 


Flowered  cretonne  is  a  favorite  curtain  material  for  the 
sun-porch  and  is  used  (above)  to  drape  windows  and 
French  doors  alike.  The  red  brick  of  the  chimney  also 
lends  a  color  note,  and  when  vines  have  been  trained 
up  the  white  wood  trellises,  the  effect  will  be  quite 
charming. 


43 


Furnishings  are  often  quite  properly  subordinated  to  some  unusual  feature  of  a  room,  which 
deserves  prominence.  The  interest  here  centres  about  the  flower-window  extending  across 
one  entire  end  of  the  dining-room. 


Dining  Arrangements 


The  dining-room  will  probably  never  go  out  of  fashion  so  long 
as  custom  dictates  that  we  make  a  sort  of  ceremony  of  our  three 
meals  a  day.  Yet  we  hear  a  good  deal  about  the  dining-room- 
less  house  —  a  species  of  dwelling  which  does  not  contain  a 
room  devoted  exclusively  to  this  periodical  rite.  From  a  labor- 
saving  point  of  view  there  is  certainly  every  advantage  to  be 
gained  by  the  omission  of  a  room  which  is  used  on  an  average 
only  three  hours  out  of  a  possible  fifteen,  but  which  requires 
as  much  care  and  expense  of  upkeep  as  any  other  room  in  the 
house.  On  the  other  hand,  it  may  not  suit  the  tastes  of  a  fas- 
tidious household  to  have  the  alternative  of  eating  in  an  alcove 
or  of  being  exposed  to  the  mechanics  of  serving  a  meal  in  the 
family  living-room.  Unless,  therefore,  the  exigencies  of  the 
situation  call  for  some  other  arrangement,  the  dining-room  will 
continue  to  exist  and  must  receive  consideration  as  an  impor- 
tant problem  in  the  furnishing  of  the  house. 

As  for  the  furniture  itself,  a  table  capable  of  extension  is  al- 
ways a  wise  purchase,  and  most  tables  are  made  in  this  way 
to-day.  Whether  the  table  be  round,  oval,  square  or  rectangular 
is  a  matter  of  taste,  but,  generally  speaking,  it  should  be  of  a 
shape  and  size  proportionate  to  the  room. 

The  particular  design  of  the  furniture  must  rest  with  the  in- 
dividual, always  excepting  the  fact  that  the  architectural  style 
of  the  house  and  the  character  of  other  furnishings  should  be 
taken  into  account.  The  location  of  the  dining-room  with  re- 
lation to  the  other  rooms  in  the  house,  and  the  kind  of  wood 
finish  used  therein,  will  determine  to  a  large  extent  the  nature  of 
the  furnishings.  If,  for  example,  the  dining-room  opens  off  the 
living-room  through  an  arch  or  double  doorway,  and  is  treated 
similarly  as  regards  finish,  this  architectural  unity  calls  for  a 
corresponding  relation  between  the  furnishings  of  the  two 
rooms.  On  the  other  hand,  a  dining-room  opening  off  the  hall, 
or  even  from  an  adjacent  room,  by  means  of  single  doors,  may 
quite  appropriately  be  furnished  in  totally  different  character. 


always  bearing  in  mind,  of  course,  the  general  type  of  house, 
which  may  limit  the  number  of  appropriate  possibilities. 

If  built-in  china-closets  are  a  feature,  they  will  be  found  to 
have  a  distinct  decorative  value  when  filled  with  handsome 
china  and  glassware ;  but  it  is  far  better  to  use  the  pantry  shelves 
for  this  purpose  than  to  crowd  objects  into  the  china-closet  until 
it  resembles  a  museum  cabinet.  A  sideboard,  or  dresser,  as  it  is 
frequently  called,  makes  a  convenient  place  for  table  silver  or 
linen,  but  the  great  danger  here  lies  in  overloading  the  top  with 
a  pretentious  display  of  dining-room  accessories.  A  small  table 
is  a  convenience  for  serving,  and  one  of  the  more  modern  and 
certainly  most  useful  pieces  of  furniture,  especially  for  the  maid- 
less  house,  is  the  tea  wagon.  This  may  be  used  in  a  dozen  con- 
venient ways  which  will  readily  suggest  themselves  to  the  effi- 
cient housekeeper,  and  may  be  bought  in  a  variety  of  designs 
and  finishes. 

The  dining  room  should  be  one  of  the  most  cheerful  and  in- 
spiring rooms  of  the  house.  The  daily  life  of  the  family  starts 
here  every  morning,  and  for  ensuring  a  good  start  there  is  noth- 
ing like  a  bright,  sunny  room  in  which  to  eat  one's  breakfast. 
Should  the  dining-room  be  located  on  the  north  side  of  the  house, 
as  much  light  as  possible  must  be  induced  by  artificial  means. 
This  does  not  signify  artificial  light,  which  always  has  a  bad 
psychological  effect  in  the  early  morning;  but  it  is  possible  to 
choose  a  kind  and  color  of  wall-finish  and  hangings  which  re- 
flect, rather  than  absorb,  such  light  as  comes  in  at  the  windows. 
The  various  shades  of  yellow  and  old  gold,  for  example,  will 
lend  warmth  and  brightness  to  an  otherwise  lifeless  room,  while 
blue  and  gray  are  cold  colors,  quite  unsuited  to  subdued  light 
conditions. 

The  artificial  lighting  arrangements  are  accountable  for  much 
of  the  charm  which  we  so  often  ascribe  to  the  more  material 
appointments  of  a  dining-room ;  but  this  subject  will  be  more 
fully  considered  in  a  later  chapter. 


44 


Painted  furniture  enjoys 
great  popularity  at  the 
present  time;  and  in  the 
summer  home  or  cottage 
type  of  house,  it  is  an 
appropriate  choice,  es- 
pecially for  the  dining- 
room.  There  is  danger 
of  over- decoration  on 
some  of  the  modern 
painted  sets  offered  in 
the  shops;  but  one  sel- 
dom goes  astray  in  se- 
lecting the  charming  old 
Colonial  designs  in  a 
single  color,  such  as 
cream,  gray,  or  robin's- 
egg  blue. 


A  DINING-ROOM  bay  in  the  living-room  is  a  space-  and  step-saving  arrangement  worthy  of  consideration  in 
these  days  of  service  problems  Three  high  windows  over  the  Hepplewhite  sideboard  give  plenty  of  light, 
and  the  table,  a  mahogany  drop-leaf,  is  placed  against  the  wall  when  not  in  use  for  meals. 

45 


Four  Ways  of  Furnishing  the  Same  Dining-room 


Any  one  of  these 
schemes  may  be  used 
to  furnish  a  small 
dining-room  which  is 
typical  of  the  Geor- 
gian period,  provided 
of  course  that  there  is 
a  similarity  of  back- 
ground, which  in  the 
illustrations  here  is  of 
paneled  wood  painted 
in  an  old  parchment- 
colored  glaze.  A  plain 
putty-colored  rug  is 
used  on  the  floor, 
and  the  curtains  are 
of  cream  casement 
cloth;  but  the  over- 
draperies  are  changed 
to  harmonize  with 
the  furniture  in  each 
setting.  The  upper  il- 
lustration on  this  page 
shows  walnut  furni- 
ture, all  handmade 
from  designs  adapted 
from  Queen  Anne 
pieces  to  meet  the 
needs  of  a  modern 
home.  Chair-seats  are 


of  gold-brown  velvet 
and  the  color  notes 
in  the  room  are  given 
chiefly  by  the  floral 
painting,  the  flow- 
ered chintz  draperies, 
and  the  urns  of  cut 
ruby  crystal.  The 
lower  picture  is  of 
a  less  formally  fur- 
nished room,  the 
old  Windsor  chairs 
with  their  wheel 
splats  lending  an  air 
of  quaintness  which 
is  in  many  ways 
more  appealing  than 
the  more  pretentious 
types.  A  reproduction 
of  an  old  oak  cup- 
board, brass  candle- 
sticks, pewter  plates 
and  blue  china,  to- 
gether with  chintz 
draperies  in  brown 
and  orange,  bound 
with  brown,  com- 
plete this  hospitable 
scheme. 


46 


Ladder-back  chairs, 
gate-legged  table,  sim- 
ple sideboard  and 
serving  table  here  are 
all  handmade  and 
painted  in  deepparch- 
ment,  with  flower  dec- 
oration in  colors  and 
outlines  of  dark  green. 
The  chair-seats  are 
upholstered  in  quaint 
old  English  linen,  blue 
and  red  design,  taken 
from  an  old  sampler. 
The  window  dra- 
peries are  also  English 
printed  linens,  the 
soft  blue  ground  cov- 
ered with  a  basket 
design  in  reds,  tans, 
and  green,  and  both 
valance  and  side  cur- 
tains bound  with  red 
tafl^eta.  The  mirror 
between  the  windows 
is  framed  in  decorated 
red  glass. 


Another  formal  ef- 
fect is  obtained  by 
the  use  of  Hepple- 
white  and  Sheraton 
pieces.  All  the  chairs 
and  the  sideboard  are 
antiques,  beautifully 
proportioned,  and  the 
latter  is  decorated 
with  fine  inlay.  The 
table  and  console  are 
Sheraton  reproduc- 
tions. This  room  is 
an  example  of  the 
success  with  which 
a  collection  of  fine 
pieces,  harmonious  in 
scale  and  contem- 
porary in  design,  may 
be  combined  to  make 
an  interesting  and 
satisfying    interior. 


47. 


No  other  than  a  refectory  table  with 
the  sturdy  old-time  benches  could 
be  used  in  this  Seventeenth-Century 
English  room,  where  the  walls  are 
sheathed  with  broad  boards  of  pine, 
and  floors  are  of  stone  flagging.  Dark 
blue  arras-cloth  run  on  iron  rods  is 
used  for  curtains,  and  forms  the  color 
note  against  a  background  of  uneven 
brown.  Two  views  of  the  living- 
room  in  this  same  house  were  shown 
on  page  twenty. 


The  dining-room  of  this  Chicago  home,  with  its  oak-paneled  doors  and  closely  beamed  ceiling,  has  that  air 
of  dignity  and  restfulness  so  characteristic  of  English  interiors.  The  refectory  table  and  chairs  are  reproduc- 
tions of  old  models,  some  of  the  chairs  being  covered  with  old  verdure  tapestry  and  others  with  ruby  velvet. 
Two  tables  exactly  alike  are  used  on  either  side  of  the  door  leading  to  the  butler's  pantry. 

48 


The  knife  boxes  and  unusual  built-in 
mirror  form  the  chief  interest  in  the 
dining-room  shown  at  the  right.  The 
beauty  of  this  room  has  its  source  in 
plain  broad  surfaces  —  the  taupe 
rug,  the  highly  polished  mahogany 
and  the  paneled  walls.  The  absence 
of  hangings  at  the  doors  emphasizes 
the  austere  nature  of  the  room  and 
its  furnishings. 


Driftwood  gray  is  the  color  chosen  for  the  woodwork  of  this  delightful  dining-room,  with  a  rugof  dc 
A  touch  of  black  appears  in  the  wrought-iron  bracket  and   in  the  Japanese  wall-hanging  over  the  side  table. 
Bowl  and  pottery  vase  are  jade-green.     The  delicate  detail  of  the  Windsor  chair-backs  against  a  background 
of  roughj  sand-finished  plaster  is  particularly  pleasing. 

49 


Kitchen  Comforts 


The  fact  that  the  kitchen  is  the  workshop  of  the  home  is  no 
excuse  for  ignoring  its  artistic  possibilities.  If  the  woman  of 
the  household  must  spend  a  good  portion  of  her  day  in  the 
kitchen,  so  much  more  reason  for  making  it  a  pleasant  place  in 
which  to  work  ;  and  if  by  chance  there  is  a  maid,  it  will  be  the 
part  of  wisdom  to  surround  her  with  every  convenience  and 
aesthetic  satisfaction. 

There  is  nothing  which  so  contributes  to  the  attractiveness 
of  both  kitchen  and  pantry  as  light-colored  woodwork.  The 
argument  that  this  requires  too  much  care  can  hive  weight  only 
with  those  who  have  never  known  the  subtle  power  of  light- 
reflecting  walls  to  minimize  the  drudgery  of  a  sink  full  of  break- 
fast dishes.  Buff  and  soft  gray  are  more  practical  than  white 
for  woodwork  and  do  not  become  tiresome,  but  a  freer  vise  of 
color  can  be  made  on  the  walls  with  good  effect.  There  are 
rarely  large  unoccupied  spaces  in  the  kitchen  or  pantry,  so  that 
a  solid  blue,  green,  or  yellow  wall, 
if  not  too  bright  a  shade,  will  not 
be  obtrusive. 

Wall-paper  is  not  appropriate 
for  the  kitchen,  but  there  are  prod- 
ucts in  the  nature  of  oilcloth  which 
are  applied  to  the  wall  like  paper, 
and  which  are  practical  as  well  as 
good  in  appearance.  These  come 
both  plain  and  figured  and  make 
an  attractive  and  durable  wall 
finish.  An  ordinary  waterproof 
paint  over  hard-finish  plaster  will 
serve  the  same  purpose  and  is  gen- 
erally less  costly.  Rough  plaster, 
tinted,  is  also  satisfactory,  but  if 
used  at  all,  it  should  be  of  the  very 
best  grade,  and  will  need  retinting 
about  once  a  year  to  keep  its  fresh- 
ness. Glazed  tile  is  of  course  an 
ideal  wall  finish  for  the  kitchen, 
but  as  a  rule  prohibitive  in  price 
for  a  modest  home,  unless  used  for 
the  baseboards  only,  with  painted 
or  rough  plaster  finish  above. 

It  is  always  a  question  what 
kind  of  flooring  is  best  for  the 
kitchen;  but  as  tile  of  all  kinds  is 
very  costly,  the  choice  for  the  small 
house  narrows  down  to  wood  and 
linoleum.  The  latter,  if  used,  can 
be  made  to  contribute  to  the  deco- 
rative scheme  and  is  certainly  a 
serviceable  material  for  the  pur- 
pose. Extra  thicknesses  of  the 
linoleum,  or  washable  mats,  can 
be  laid  in  such  places  as  are  most  likely  to  receive  hard  wear. 
This  type  of  floor  covering  should  be  very  carefully  laid  and,  if 
possible,  cemented  to  the  floor  and  between  joints,  so  that  no 
water  will  get  under  it. 

In  choosing  a  pattern  of  linoleum  for  the  kitchen,  the  ground 
color  should  not  be  so  light  as  to  soil  readily,  nor  so  dark  that 
it  will  give  a  depressing  atmosphere  to  the  room.  A  great  many 
of  the  linoleums  offered  in  the  shops  are  of  too  prominent  a  pat- 
tern in  coloring  or  design,  or  both,  and  become  extremely  tire- 
some even  in  small  quantity.  Hardwood,  tile,  or  cement  floors 
are  not  to  be  recommended  for  the  kitchen,  as  they  lack  that 
quality  of  resiliency  so  essential  to  the  comfort  of  the  worker. 
An  ordinary  painted  wood  floor,  of  pine  or  other  similar  wood, 
is  always  satisfactory. 

A  great  deal  can  be  done  by  means  of  curtains.  Materials 
should  of  course  be  washable,  but  not  necessarily  colorless. 
Checked  gingham  makes  delightful  curtains  for  the  kitchen,  and 


The  idea  that  a  kitchen  wall  must  be  plain  and  of  a 
neutral  color  is  based  on  sound  utilitarian  principles, 
but  occasionally  one  may  so  far  defy  tradition  as  to  sub- 
stitute a  gayly  flowered  wall-paper  in  the  serving  pantry, 
especially  when  breakfast  is  sometimes  served  in  this 
same  room. 


Japanese  toweling  is  equally  practical,  while  simple  muslin, 
bleached  or  unbleached,  may  be  quite  as  effective  with  a  still 
smaller  expenditure  of  money.  Light  and  air  are  so  vastly  im- 
portant in  the  kitchen  that  neither  should  be  sacrificed  for  the 
sake  of  decoration,  but  it  is  rarely  the  case  that  an  attractive  yet 
practical  form  of  curtaining  cannot  be  devised  for  the  sake  of 
improving  appearances.  Either  a  straight  full-length  or  half- 
length  curtain  can  be  used,  but  valances  or  rufiles  are  generally 
to  be  avoided  as  they  are  dust-collectors.  A  Dutch  curtam  is 
effective  for  kitchen  windows,  although  it  is  apt  to  keep  out  the 
light  to  some  extent.  A  good  style  of  kitchen  window  drapery 
is  shown  on  page  28.  This  solves  the  light  problem,  but  would 
be  better  if  the  ruffles  were  narrower,  or  omitted  altogether, 
and  a  simple  hemstitched  border  substituted. 

Most  kitchens  are  too  large.  They  should  be  just  large  enough 
to  contain  the  necessary  equipment  and  provide  comfortable 

space  for  getting  about.  If  a 
breakfast  nook  is  to  be  incorpo- 
rated, thete  must  naturally  be  a 
more  spacious  arrangement,  but 
it  is  a  mistake  to  separate  stove, 
sink,  and  table  by  such  distances 
that  the  worker  must  waste  time 
and  energy  in  traveling  from  one 
to  another.  There  are  model  ar- 
rangements of  kitchen  equipment 
which  have  been  carefully  worked 
out  by  experts ;  but  it  is  not  always 
possible  to  adapt  these  unless  the 
house  has  originally  been  planned 
with  a  definite  kitchen  arrange- 
ment in  mind.  The  illustrations 
in  this  chapter,  however,  show  a 
number  of  conveniences  which 
have  been  found  of  value  and 
which  can  be  installed  in  any 
kitchen.  The  breakfast  nook  is  an 
entirely  modern  invention,  but 
one  which  seems  to  fill  a  long-felt 
want  for  some  means  of  serving  a 
simple  meal  with  more  ease  and 
informality  than  is  required  by  the 
use  of  the  dining-room.  Nearly  all 
the  homes  now  being  built  incor- 
porate this  feature,  which  is  with- 
out doubt  a  most  practical  solution 
of  the  meal  problem,  especially  in 
these  days  of  servantless  homes. 
Moreover,  the  inclusion  of  a  break- 
fast nook  creates  a  higher  standard 
of  appearance  for  the  kitchen,  since 
it  periodically  transforms  that  cus- 
tomary workshop  into  a  family  room. 

Electric  appliances  are  becoming  an  essential  part  of  the 
equipment  of  every  well-ordered  house  and  their  use  does  more 
than  reduce  the  actual  labor  of  housework  —  it  cuts  down  the 
quantity  of  utensils.  For  instance,  in  cleaning  a  room,  the  cus- 
tomary broom,  dry  mop,  dustpan  and  brush  are  replaced  by  one 
article, —  the  vacuum  cleaner, —  while  the  electric  dishwasher 
does  the  work  of  dishpan,  drying  rack,  dish-mop  or  cloth,  and 
leaves  the  sink  free  for  other  uses.  This  diminishing  of  the 
actual  number  of  tools  required  for  housework  tends  toward 
neater  kitchens,  and  the  saving  of  time  on  the  part  of  the  worker 
gives  opportunity  for  more  attention  to  details  of  appearance. 
There  is  no  good  argument  that  can  be  made  against  an  ar- 
tistic kitchen.  It  costs  no  more  than  a  drab  and  uninteresting 
one ;  and  whether  we  recognize  it  or  not,  a  very  large  part  of  the 
dissatisfaction  and  rebellion  which  arises  from  the  necessity  of 
doing  housework  comes  from  a  lack  of  stimulating  surroundings. 


50 


Although  a  bit  cramped  for  space,  the  worker  here  has  everything  at  The  maximum  of  convenience  within  the  minimum  of  space  is  a  con- 
hand.  Cupboards  with  doors  are  usually  better  than  open  shelves  for  stant  problem  before  the  owner  of  a  kitchenette.  A  small  supply  of 
dishes,  unless  one  prefers  to  sacrifice  practical  considerations  for  the  dishes  for  everyday  use  can  best  be  kept  on  a  shelf  over  the  sink,  to  save 
sake  of  decorative  effect.  steps. 


A  KITCHEN  in  which  no- 
thing is  lacking  in  up-to- 
date  equipment.  There 
are  plenty  of  closets 
and  all  the  labor-saving 
devices  for  the  most  ef- 
ficient accomplishment  of 
the  work. 


The  equipment  in 

this  kitchen  is  far 
simpler  and  less 
costly  than  in  the 
one  directly  above, 
but  the  arrange- 
ment isbetterhere, 
for  the  broad  win- 
dows are  so  placed 
that  the  worker 
may  derive  all  the 
benefits    of   light. 


Everything  is  here  that 
could  be  desired  in  the 
way  of  convenience,  yet 
somehow  one  feels  that 
this  room  would  not  be 
so  pleasant  a  place  to 
work  in  as  the  one  pic- 
tured below. 


air,  and  a  pleasant 
aitlook.  These 
■  iiings  have  an  im- 
portant psycho- 
ogical  bearing  on 
the  whole  problem 
of  housework,  no 
matter  whether 
that  work  is  per- 
formed by  the  lady 
of  the  house  or  by 
her  servants. 


A  Kitchen 
and  Pantry 

in  the 
Same  House 


Two  views  of  the  kitchen  are  shown,  above  and  at  the  right 
respectively.  The  finish  is  gray  and  the  walls  deep  cream, 
while  blue-and-white  linoleum  gives  a  touch  of  color  to  the 
floor.  An  ample  supply  of  cupboards  and  drawers  is  provided, 
and  four  windows  flood  the  room  with  sunlight,  making  this 
kitchen  an  unusually  bright  and  cheery  place  in  which  to  work. 
The  right-hand  illustration  shows  the  gas  range  with  pot-and- 
pan  closet,  also  broom  closet,  and  a  convenient  slate  on  the 
wall  near  the  telephone  for  orders  or  memoranda. 


The  pantry  is  excellently  arranged  to 
accommodate  all  the  dining-room  ac- 
cessories. Long  shallow  drawers  are 
divided  off  for  linen,  and  around  the 
corner  to  the  left  may  be  seen  a  series  of 
racks  for  platters,  with  a  closet  for  table- 
leaves  and  trays  beyond.  The  closet 
to  the  right  of  the  linen-drawers  is  for 
brooms  and  that  beyond  for  vases  and 
flower-baskets.  A  built-in  table  and 
seat  are  also  a  convenience,  and  make 
use  of  available  wall  space  under  the 
window. 


62 


A  PANTRV  presents  endless  opportunities  for  con- 
venient devices.  This  one  has  a  safe  for  the  nightly 
locking  up  of  the  silver  in  constant  use  and  for  the 
storage  of  less-used  pieces.  The  shelving  is  well 
thought  out,  and  a  low  stool  provides  a  means  of 
reaching  the  topmost  dishes.  Every  available  space 
is  used  for  shelf  and  cupboard  room. 


A  SOLUTION  of  the  problem  of  keeping  kitchen  odors 
out  of  the  rooms  is  offered  by  the  installation  of  a 
turnstile  slide  between  kitchen  and  pantry.  If  the 
expense  of  this  turnstile  is  an  item  to  be  considered, 
the  usual  wooden  slide  may  be  fitted  with  a  large 
glass  panel,  which  acts  as  a  bar  to  odors,  although  not, 
of  course,  so  effectively  as  the  turnstile. 


One  would  go  far  to  find  a 
more  attractive  arrange- 
ment than  this  combination 
of  china  cupboard  and 
breakfast-room  in  one  cor- 
ner of  an  ample  kitchen. 
Rag  rugs  laid  over  the 
linoleum  floor  and  bright- 
colored  window  draperies 
give  an  atmosphere  of  the 
real  dining-room,  yet  all 
the  conveniences  of  serving 
a  meal  in  the  kitchen  may 
be  enjoyed.  The  little 
round  wicker  table  is  very 
useful  and  at  the  same  time 
contributes  to  the  aes- 
thetic side  of  the  situation. 


58 


A  THOROUGHLY  modem  bedroom  in  painted  furniture,  supplemented  by  wiciier. 
There  are  many  small  comforts  which  have  not  been  overlooked,  such  as  the  bed- 
side table  with  reading  lamp  and  telephone,  a  well-shaded  drop-light  over  the 
dressing  table,  and  long  mirror  in  the  closet  door.  Notice  also  the  location  of 
the  light  switch  within  reach  of  the  bed. 


The  Sleeping-room 


The  purpose  of  the  sleeping-room  defines  the  appropriate 
furniture  to  be  placed  therein,  and  unless  the  room  in  question  is 
large  enough  to  accommodate  extra  pieces,  the  main  problems 
are  those  of  selection  of  the  type  and  finish  of  the  furniture  and 
its  convenient  and  pleasing  arrangement. 

Painted  furniture  is  increasingly  popular  for  bedroom  use 
because  of  its  dainty  appearance  and  color  possibilities,  and 
also  for  the  reason  that  its  cost  is  comparatively  low.  Very 
charming  painted  designs  in  contrasting  colors  can  be  applied 
to  chair-backs,  dresser-drawers  and  bedsteads,  but  too  many  or 
too  prominent  decorations  of  this  sort  become  tiresome  and  they 
should  therefore  be  used  sparingly.  Mahogany,  oak,  and  all 
the  woods  and  finishes  customarily  chosen  for  other  rooms  in  the 
house  may  quite  well  be  used  for  the  bedrooms  if  desired;  but 
of  course,  as  in  all  furnishing  questions,  the  architectural  type 
of  house  must  be  the  deciding  factor.  A  bedroom  equipped  with 
light  painted  cottage  furniture,  chintz  hangings,  and  rag  rugs 
would  be  out  of  character  in  an  Elizabethan  or  Italian  dwelling, 
but  completely  in  harmony  with  one  of  Colonial  traditions. 

As  for  the  placing  of  the  essential  pieces,  there  are  always  a 
few  general  considerations  to  be  taken  into  account.  The  loca- 
tion of  the  bed  is  usually  limited  to  two  or  at  the  most  three 
alternatives.  Choose  the  one  which  does  not  subject  the  sleeper 
to  a  strong  cross  draft,  and,  for  convenience  as  well  as  appear- 
ance, place  the  head  of  the  bed  to  the  wall  with  the  foot  pro- 
jecting into  the  centre  of  the  room.  There  is  no  particular 
object  in  conserving  space  in  the  middle  of  the  bedroom  floor 
and  it  is  far  more  of  an  asset  along  the  walls. 

If  the  size  of  the  room  permits,  a  couch,  or  chaise-longue,  may 
be  added  at  the  foot  of  the  bed  or  near  a  window,  and  will  prove 
a  great  comfort  for  snatching  a  few  moments  of  undisturbed 
rest  in  the  intervals  of  a  busy  day.  A  small  writing-desk  or 
table  may  also  be  useful  in  the  bedroom,  and  there  is  sure  to  be 


room  enough  for  one  of  those  Indispensable  bedside  tables  with 
a  boudoir  lamp,  which  will  add  a  decorative  touch  besides  prov- 
ing itself  a  convenience.  The  bureau,  chiffonier,  and  dressing- 
table  are  rivals  in  popularity,  although  all  three  are  frequently 
used  in  the  same  room.  The  dressing-table  is  more  fashionable 
than  practical  and  makes  its  appeal  largely  to  the  woman  of 
leisure.  A  bureau  or  chest  of  drawers,  with  mirror  above,  serves 
the  same  purpose  and  has  the  added  advantage  of  drawer  space. 
A  full-length  mirror  is  a  very  serviceable  adjunct  to  the  bedroom 
and  is  best  installed  in  a  closet  door,  although  the  pier  glass  is 
purchasable  as  a  separate  piece  of  furniture.  In  any  case  it 
should  be  so  located  that  it  does  not  reflect  light  from  an  op- 
posite window.  To  secure  a  good  reflection  the  light  should  be 
directed  upon  the  object  to  be  reflected,  and  not  upon  the  mirror. 

The  placing  of  furnishings  in  the  bedroom  is  apt  to  present 
peculiar  difficulties  by  reason  of  the  fact  that  a  pleasing  balance 
must  sometimes  give  precedence  to  matters  of  convenience  and 
limitations  of  wall  space.  If  it  is  possible  to  do  so,  intersperse 
high  and  low  pieces,  in  order  to  secure  a  proper  balance,  and 
avoid  placing  all  the  large  objects,  such  as  bed,  bureau,  and  chif- 
fonier, on  one  side  of  the  room. 

Hangings  for  the  bedroom  have  been  discussed  at  some  length 
in  a  previous  chapter,  but  their  importance  cannot  be  too 
strongly  emphasized.  Whether  the  curtains  are  of  costly 
taffeta  or  simple  muslin,  their  presence  is  vital  to  that  air  of 
daintiness  which  characterizes  every  successful  bedroom. 
Moreover,  the  treatment  of  windows  in  the  bedroom  has  a 
direct  bearing  upon  the  physical  comfort  of  the  occupant. 
Nothing  is  more  unpleasant  than  to  be  wakened  in  the  early 
morning  hours  by  a  strong  light  shining  into  one's  eyes,  and  this 
must  be  guarded  against  either  by  so  placing  the  bed  that  light 
rays  cannot  disturb  the  sleeper,  or  by  providing  dark  shades  or 
overdraperies  which  can  be  pulled  across  the  window. 


54 


The  old  four-posters  are  still  to  be  found  in  many  homes,  but  rarely  do  we 
see  them  now  with  the  canopies.  This  rather  elaborately  carved  affair 
has  hangings,  fringe,  and  counterpane,  all  of  handwork. 

Another  form  of  canopy  (right)  is  found  in  this  very  old  house  in  Connec- 
ticut. The  posts  of  the  bed  and  the  other  furnishings  as  well  are  of  an 
earlier  Colonial  period  than  those  in  the  room  above. 


The  modern  adaptation  of  the  four-poster  usually  omits  the  canopy  altogether  and  the  posts  are  lower, 
but  the  long  counterpane  and  head-roll  have  survived.  This  bedroom  has  an  unusually  restful  air,  and  while 
spacious  in  its  proportions,  is  at  the  same  time  cosy  and  intimate. 

65 


The  modern  apart- 
ment bedroom  (right) 
is  made  bright  with 
cretonne  and  slip  cov- 
ers, which  give  suffi- 
cient decoration  to  the 
room  and  make  it  un- 
necessary to  use  pic- 
tures on  the  plain  walls. 
The  drop-light  over  the 
dressing-table  is  well 
placed,  and  all  the  fur- 
nishings are  chosen  for 
comfort  as  well  as  for 
good    appearance. 


Directly  below  is  a 
charming  old-fashioned 
bedroom  in  a  restored 
Colonial  farmhouse. 
Here,  also,  gay  figured 
hangings  provide  the 
chief  decorative  ele- 
ment in  the  room.  In 
fact,  the  same  methods 
have  been  used  as  in 
the  apartment  bedroom 
at  the  left;  but  owing 
to  the  variation  in 
style  of  furnishings,  the 
effect  is  quite  different. 


The  two  centre  illus- 
trations are  of  the 
same  Colonial  room, 
but  the  one  directly 
above  shows  a  quaint 
and  very  attractive 
chintz-draped  dressing- 
table  which  is  par- 
ticularly harmonious 
in  this  old-fashioned 
room.  The  dark 
painted  floor  is  char- 
acteristic of  the  old 
Colonial  houses,  but  it 
is  seldom  that  the  mod- 
ern owner  has  courage 
to  use  it.  Try  to  vis- 
ualize a  light  floor  here, 
and  see  how  the  room 
loses    character. 


At  the  left  is  a  typical 
modern  bedroom  of  no 
particular  virtue  ex- 
cept that  it  is  roomy 
and  comfortable.  Com- 
pare it  with  the  others 
on  this  page  for  inter- 
est. The  owner  has 
been  handicapped  at 
the  start  by  uncom- 
promising wall-paper 
and  badly  placed  light- 
ing fixtures,  but  atten- 
tion could  have  been' 
drawn  from  these  less 
pleasing  features  by  a 
more  attractive  treat- 
ment of  the  large  win- 
dows. 


66 


The  two  bedrooms 
shown  on  this  page 
are  in  a  Virginia  home 
where  the  saving  of 
space  is  no  object  and 
there  is  plenty  of  op- 
portunity for  impos- 
ing effects  in  hangings 
and  color-schemes. 
The  room  in  the 
upper  illustration  has 
draperies  of  blue 
gauze  bound  with 
green,  and  under  cur- 
tains of  dotted  net. 
The  bedspread  of 
green  chintz  has  a 
bold  all-over  design 
in  blue,  rose,  and 
black,  which  blends 
well  with  the  antique 
green  furniture.  A 
background  of  light 
tan  walls,  cream 
woodwork,  and  plain 
taupe  rug  sets  off  this 
cool  and  thoroughly 
restful  color-scheme 
to  the  best  possible 
advantage. 


In  the  same  spacious 
Southern  home  is  the 
bedroom  shown  in 
the  lower  picture 
where — against  the 
same  color-back- 

ground as  the  room 
above — a  scheme  of 
yellow,  blue,andgreen 
is  carried  out.  Bed- 
covers and  valances 
alike  are  of  a  figured 
cretonne,  which  also 
serves  to  make  bands 
across  the  bottom 
of  the  sheer  yellow 
curtains.  Gray-blue, 
decorated  with  yel- 
low and  green,  is  the 
color-scheme  for  the 
furniture.  An  effec- 
tive little  dressing- 
table  between  the 
windows  is  covered 
with  the  same  cre- 
tonne used  for  the 
bedspreads,  the  scal- 
loped cover  edged 
with  yellow.  A  band 
of  yellow  also  finishes 
the  window  valances. 


57 


For  the  hall  pictured  here,  no  type  of  lighting  fixture  is  more  appropriate  and  satisfying  than  the  standard 
lantern,  or  torchere,  as  it  is  sometimes  called.  Its  tall  stately  lines  are  adapted  only  to  formal  surroundings, 
but  when  so  placed,  x)r\^  torchere  lends  dignity  and  distinction,  especially  to  an  entrance.  The  pair  shown  are 
of  undetermined  origin  —  probably  Spanish  or  Italian. 

58~ 


Lighting 


The  quality  and  distribution  of  light  have  a  great  deal  more 
to  do  with  the  aspect  of  a  room  than  most  people  imagine. 
The  subtle  influence  of  mellow  tones,  half-lights,  and  shadows  is 
far-reaching,  and  many  a  beautiful  decorating  scheme  has  been 
ruined  by  failure  to  study  carefully  the  effects  of  both  natural 
and  artificial  light  upon  it. 

There  are  three  divisions  into  which  the  subject  of  lighting 
falls  —  the  character  of  the  light  itself,  its  tiistribution,  and  the 
fixtures,  the  latter  including  both  permanent  and  portable 
varieties.  For  the  first  of  these  we  have  to  consider  natural 
light,  or  daylight,  candles,  gas,  oil,  and  electricity.  Daylight 
we  can  regulate  only  to  a  slight  degree,  and  as  the  sources  are 
fixed,  there  is  no  further  discussion  necessary.  Candles  should 
be  used  more  than  they  are,  for  their  light  is  of  a  mellow  quality, 
which  subdues,  but  does  not  cast  deep  shadows.  On  the  dining- 
table  especially,  candles  are  at  their  best,  but  a  common  fault 
lies  in  having  them  set  too  low,  so  that  the  flame  comes  on  a 
level  with  the  eyes  of  those  seated  at  table.  Gas  and  oil  are 
both  good  in  the  quality  of  light  given,  but  are  of  course  less 
convenient  than  electricity,  and  are  used  nowadays  only  when 
the  latter  is  not  available.  Electric  light  is  harsh  and  brilliant 
in  quality  and  needs  to  be  well  shaded  if  the  best  results  are 
desired. 

A  glare  of  light  is  unpleasing  to  the  eyes  and  unflattering  to 
the  decorations  of  a  room.  A  common  fault  in  the  use  of  elec- 
tricity is  a  tendency  to  light  the  upper  area  of  a  room  rather 
than  the  lower  inhabited  portion.  People  who  enter  strenuous 
objections  to  raising  their  window-shades  to  the  full  height 
during  the  day  will  nevertheless  brilliantly  illuminate  the  ceiling 
by  means  of  a  chandelier  or  indirect  lighting  bowl  at  night. 
The  general  diffusion  of  light  obtained  by  these  means  is  de- 
sirable only  in  public  places,  such  as  auditoriums  and  office 
buildings.  Artificial  light  in  the  home  should  come  from  the 
same  level  as  daylight,  and  mellowness  rather  than  brilliancy 
should  be  sought  for. 

Except  in  very  large  rooms,  or  when  a  great  deal  of  enter- 
taining is  to  be  done,  there  is  little  occasion  for  the  use  of  a 
central  lighting  fixture  in  the  living-room.  Wall-brackets,  or 
sconces,  and  lamps  are  far  more  pleasing  and  give  any  room  a 
cosy,  homelike  appearance.  In  the  dining-room,  however,  a 
hanging  lamp  or  candle  fixture  over  the  table  is  entirely  logical, 
since  that  is  where  light  is  needed.  The  use  of  so-called  "art 
glass"  or  inverted  bowls  for  this  purpose  is  to  be  avoided.  A 
simple  shade  of  silk  or  decorated  parchment,  hung  low  enough 
so  that  the  direct  rays  of  light  from  the  bulbs  will  not  shine  into 
the  eyes  of  those  seated  at  table,  is  the  best  possible  arrange- 
ment. The  silk  may  be  shirred  underneath  and  caught  in  the 
centre  with  a  rosette  or  button,  further  to  soften  the  light  if  de- 
sired. Rose,  gold,  and  soft  yellow  are  the  best  colors  to  use  for 
shades  provided  they  harmonize  with  the  color-scheme  of  the 
room,  for  the  transmission  of  light  through  them  sheds  a  soft, 
becoming  glow.  Blue  and  green  are  less  pleasing,  and  if  used 
at  all  should  be  lined  with  white,  cream,  or  some  warmer  color. 
If  a  candle  fixture  is  preferred,  this  may  be  used  with  or  without 
individual  shades. 

It  is  difficult  to  prescribe  on  the  subject  of  lighting  fixtures 
unless  the  conditions  of  the  particular  case  are  a  known  quan- 
tity; but  there  are  so  many  atrocities  foisted  upon  the  public 
that  it  is  well  to  be  on  one's  guard  against  them.  The  common 
fault  among  these  is  over-elaboration  and  a  clumsy  use  of  metals, 
which  gives  a  ponderous  appearance  to  drop-lights  and  wall- 


brackets.  Lamps  also  suffer  the  same  defects,  and  the  matter 
of  proportion  seems  often  to  have  been  entirely  disregarded. 
As  a  rule,  the  best  kind  of  lamp  is  that  made  from  a  pottery  vase 
or  bowl  of  good  lines  and  coloring.  There  is  no  doubt  that 
lamps  are  a  very  decorative  feature,  whether  of  the  bowl,  ped- 
estal, or  standard  type,  but  their  effect  depends  quite  as  much 
upon  their  appropriateness  in  the  surroundings  as  upon  in- 
dividual merits.  Candelabra  and  torcheres  are  especially  good 
in  combination  with  tile  or  marble  floors  and  plaster  walls. 

Lighting  arrangements  for  the  bedroom  are  very  important 
for  the  comfort  of  the  occupants.  A  single  drop-light  over  the 
bureau  or  dressing-table,  with  a  silk  or  cretonne  shade,  is  usually 
preferred  by  the  ladies  of  the  household,  while  the  masculine 
members  S2em  to  find  wall-brackets  on  each  side  of  the  chiffon- 
ier more  to  their  liking.  The  choice  is  after  all  a  personal  one, 
for  either  method  is  adequate.  A  boudoir  lamp  near  the  bed 
is  always  a  convenience,  but  as  in  the  living-room,  a  central 
fixture  is  of  very  little  use.  The  connection  between  a  light  and 
a  mirror  is  one  which  deserves  more  attention  than  is  cus- 
tomarily given  to  it.  The  light  should  always  be  directed  upon 
the  object  to  be  reflected  and  not  upon  the  reflection.  This 
same  principal  applies  to  the  location  of  mirrors  with  regard  to 
windows. 

Improvements  both  practical  and  artistic  are  constantly 
being  made  in  the  lighting-fixture  field.  Among  the  former  are 
the  new  adjustable  brackets  and  hanging  fixtures,  arranged  to 
plug  into  a  socket  by  means  of  a  strong  spring  which,  when  in 
place,  makes  the  necessary  connection  of  current.  In  this  way 
fixtures  may  be  moved  about  from  one  location  to  another  in 
the  house.  Another  recent  invention  is  the  hollow  chain  for 
drop-lights,  which  conceals  the  cord  within  it. 

As  for  design,  it  needs  only  a  study  of  well-furnished  homes  to 
convince  us  that  manufacturers  are  awakening  to  the  artistic 
possibilities  of  lighting  fixtures;  and  we  may  even  look  forward 
to  the  day  when  the  landlord  of  a  rented  house  or  apartment 
will  recognize  the  superiority  of  the  unobtrusive  bracket  and 
floor  lamp  over  the  ugly  commercial  bowl  and  chandelier. 
Surely  some  progress  along  this  line  is  being  made  when  build- 
ers of  first-class  apartment  houses  employ,  as  they  now  do,  the 
best  artists  and  decorators  to  attend  to  matters  of  inside  finish 
and  equipment. 

Mistakes  are  frequently  made  in  choosing  lighting  fixtures 
because  some  dealers  fail  to  display  their  wares  with  the  same 
intelligence  that  is  used  nowadays  in  presenting  nearly  all  other 
forms  of  merchandise.  On  entering  a  lighting-fixture  shop,  one 
is  often  confronted  with  a  distracting  number  of  fixtures  at- 
tached to  walls,  floors,  and  ceilings,  like  a  vast  array  of  stalac- 
tites and  stalagmites.  It  is  impossible  under  such  conditions 
to  focus  upon  any  one  fixture  or  to  apply  standards  of  judgment 
for  the  purpose  of  making  a  selection.  No  well-managed  shop 
selling  articles  of  wearing  apparel  or  drapery  material  presents 
its  goods  in  this  confusing  manner;  it  has  facilities  for  dis- 
playing individual  articles  with  proper  backgrounds  and  under 
the  most  favorable  conditions.  It  is  not  surprising,  therefore, 
that  so  many  householders  leave  the  selection  of  their  lighting 
fixtures  to  their  architect  or  builder,  who  very  probably  has 
them  made  to  order.  The  results  may  be  fortunate  or  unfor- 
tunate, but  if  the  owner  were  given  more  encouragement  to 
make  his  own  selections,  even  though  under  the  guidance  of  an 
architect,  his  interest  in  this  important  phase  of  house-furnishing 
would  be  considerably  awakened, 


59 


■"MBg^CT^ 


WROUGHT  IRON  FIXTURES  OF  UNUSUAL  DESIGN 


60 


The  type  of  fix- 
ture used  in  this 
English  dining- 
room  is  too  often 
copied  in  orna- 
mental brass  and 
hung  in  the  apart- 
ment or  small- 
house  dining-room, 
wlicre  its  bold  lines 
ami  heavy  char- 
acter are  quite  out 


of  scale  with  t 
surroundings, 
a  spacious  roc 
with  plaster  wal 
dark  woodwoi 
and  ceiling  bean 
such  a  fixtui 
made  of  wroug 
iron,  is  entire 
harmonious  ai 
pleasing. 


For  the  modern  hall  there  are  many  adapta- 
tions of  the  lantern,  and  a  square  lattice  de- 
sign, while  by  no  means  uncommon,  is  rarely 
used  as  appropriately  as  in  this  simple  but  de- 
lightful hallway.  Its  effectiveness  is  closely 
related  to  the  color-scheme,  the  principal 
notes  of  which  are  mandarin  orange,  gray,  and 
black. 


The  hanging  lantern  is  an  old  form  of  fixture 
which  has  outlived  the  days  of  hot  coals, 
candles,  and  kerosene,  and  is  now  adapted  to 
electricity  for  modern  needs.  A  good  many 
of  the  old  lanterns  are  still  on  the  market, 
although  some  of  the  reproductions  are  so 
good  as  to  be  almost  indistinguishable  from 
the  originals.  The  one  shown  below  is  a  par- 
ticularly good  example. 


For  the  porch  or 
sun-room  (oval) 
a  Japanese  lan- 
tern is  a  refresh- 
ing departure 
from  the  conven- 
tional bowl.  A 
silk  cord  and  tas- 
sel hanging  be- 
low add  a  touch 
of  color  for  dec- 
orative eflfect. 


61 


Distinctly  Chi- 
nese in  both  line 
and  design  is  this 
graceful  lamp  with 
flaring  shade. 


A  Chinese  porcelain  vase  in  light 
blue  has  a  shade  of  Chinese  satin  in 
the  same  tone  embroidered  in  blue, 
rose,  yellow,  and  green,  and  sur- 
mounted by  a  carved  white-jade 
finial.  Both  vase  and  shade  are  un- 
usually well  proportioned. 


An  antique  Imari 
vase,  which  is  one 
of  a  set  of  five 
Japanese   vases. 


Three  Chinese  lamps  of  conservative  lines,  which  could  be  appropriately 
used  with  almost  any  type  of  furnishings.  The  shades  are  especially 
adapted  to  the  bases. 


An  American  shade  is  well  combined  with 
an  Oriental  vase  in  the  illustration  below. 
Hand-painted  parchment  shades  are  used 
on  the  wall-brackets. 


Paper  shades  are 
always  popular  tor 
the  small  lamp. 
The  illustration 
above  at  the  left 
is  of  a  Shepard  de- 
sign bound  in  gold 
guimpe,  while  the 
right-hand  lamp 
has  a  shade  of 
flower-design  in 
color  on  a  black 
background. 


An  old  Ming  figure  in  dull 
gold  and  red  lacquer  tones 
is  odd  and  entertaining,  but 
owes  its  beauty  largely  to 
the  colorings,  especially  of  the 
shade,  which  is  a  Chinese  gold- 
color  brocade. 


'■'  i 

1 

1 

n 

: 

=i 

m 

1 

r   1 

1 

flijk' 

i- 

V 

Ut» 

v.«             i 

A 

r 

~4| 

i 

'  ita^HH^iili^^iii^^^ii^d^'^l 

ili 

.mil 

_— 

This  Chinese  lamp  is  particu- 
larly symmetrical,  but  rather 
elaborate  for  general  use.  It 
requires  a  very  rich  and  some- 
what Oriental  setting  for  the 
best  effect. 


62 


For  a  pedestal  lamp,  this 
Italian  Renaissance  design 
would  be  an  excellent  choice. 


Pottery  vases  in  plain  tones 
make  handsome  lamps  when 
adorned  with  silk  shades  hav- 
ing a  bit  of  fringe  to  soften  the 
severity  of  the  base. 


m^jifi(im^' 


w 


Two  dainty  boudoir  lamps 
(below),  which  can  be  made 
in  any  desired  color-scheme  to 
match  the  room. 


Although  of  no  particular 
period,  the  lamp  above  would 
find  a  place  in  any  well-fur- 
nished room. 

Another  pottery  vase  of  more 
angular  proportions  has  a 
shirred  shade  of  figured  silk 
which  successfully  repeats  the 
lines  of  the  base. 


ATTRACTIVE  LAMPS 
IN  ATTRACTIVE  SURROUNDINGS 


A  COLONIAL  lamp  well  ar- 
ranged to  represent  a  combina- 
tion of  antique  appearance 
and  modern  suitability. 


Bases  of  carved  wood,  the  left  one  gilded  and  the  right 
painted,    support  the  decorated   paper   shades   in    the 

illustration  below. 


63 


Good  Furnishings  for 
Here  and  There 


In  the  preceding  chapters  more  attention  has  been  given  to 
the  use  and  arrangement  of  furnishings  than  to  the  character 
of  the  objects  themselves,  but  it  is  possible  here  to  give  a  few 
general  suggestions  which  may  prove  helpful  in  making  selec- 
tions. 

If  a  home  is  to  be  furnished  in  strictly  period  style, —  that  is, 
if  all  the  furniture  is  to  be  of  one  era  throughout, —  the  problem 
is  comparatively  simple,  assuming,  of  course,  a  knowledge  of 
that  period  on  the  part  of  the  owner,  the  decorator,  or  both. 
But  few  moderate-priced  homes  are  furnished  in  this  way  to-day. 
Costs  are  usually  prohibitive  and  often  a  more  or  less  miscel- 
laneous assortment  of  pieces,  presented  by  friends  or  inherited 
from  relatives,  forms  a  nucleus  which  for  various  reasons  cannot 
or  should  not  be  thrown  into  the  discard.  It  is  a  debatable 
question,  moreover,  whether  a  miscellany  of  this  kind,  if  the 
objects  are  good  in  themselves,  is  not  after  all  a  blessing  in  dis- 
guise; for  the  necessity  of  using  a  number  of  unrelated  pieces  of 
furniture  is  apt  to  result  in  a  more  open-minded  attitude  toward 
the  selection  of  other  objects  to  accompany  them.  The  pos- 
session of  a  sideboard  and  a  mahogany  bedstead,  for  example, 
may  prevent  the  purchase  of  a  "set"  of  furniture  for  at  least 
two  rooms  in  the  house,  and  thus  make  possible  for  the  occu- 
pants a  pleasing  variety  and  homelike  atmosphere,  which  could 
never  result  from  the  transplanting  of  a  ready-made  group  from 
the  furniture  store. 

In  the  selection  of  individual  pieces  which  are  to  bear  a  rela- 
tion to  each  other  when  placed  in  the  same  room,  there  are  three 
considerations,  aside  from  actual  harmony  of  design  and  mate- 
rials. These  are  balance,  scale,  and  value.  Balance  means 
equal  weight  of  effect,  scale  is  the  relative  sizes  of  accompany- 
ing objects,  and  value  is  the  lightness  or  darkness  of  an  object, 
irrespective  of  its  color.  To  illustrate,  let  us  suppose  that  we 
have  a  fireplace,  on  one  side  of  which  we  have  placed  a  bookcase. 
On  the  other  side  there  is  only  a  blank  wall,  and  we  feel  that 
some  piece  of  furniture  is  needed  there  to  satisfy  our  sense  of 
balance.  It  is  not  necessary  to  duplicate  the  bookcase,  or  even 
to  purchase  another  piece  of  furniture  of  the  same  size.  A 
straight  chair,  or  small  table,  with  a  picture  hung  above  it,  may 
give  the  desired  effect  of  balance  with  the  bookcase.  An  ex- 
ample of  bad  scale  may  be  cited  by  the  use  of  a  delicate  Louis 


XVI  chair  adjacent  to  a  large  over-stuffed  davenport.  There 
is  an  incongruity  here  which  disturbs  our  sense  of  proportion. 
An  upholstered  wing  chair  in  place  of  the  French  piece  will  main- 
tain the  standard  of  scale  set  by  the  sofa.  To  explain  value, 
let  us  return  to  the  case  of  the  fireplace  with  the  bookcase  on 
one  side  and  the  chair  and  picture  on  the  other.  If  the  bookcase 
is  mahogany  and  therefore  dark  in  value,  the  chair  and  picture 
must  have  approximately  the  same  degree  of  darkness  or  the 
balance  will  be  destroyed.  A  light  mass  will  not  balance  with  a 
dark  mass  of  equal  proportions  and  the  fault  lies  in  the  fact 
that  there  is  a  discrepancy  in  values. 

Many  people  are  puzzled  about  the  correct  combinations  of 
mahogany,  oak  (in  its  many  finishes),  and  wicker,  as  well  as  the 
less  common  woods  such  as  walnut,  gum,  and  cherry.  There  is 
no  rule  of  thumb  to  be  applied  here,  and  no  reason  why  several 
different  materials  and  finishes  should  not  live  happily  together, 
provided  they  are  judiciously  combined.  Such  woods  as  cherry 
and  golden  oak  are  too  decided  in  coloring  to  harmonize  with 
others,  but  their  use  is  diminishing  rapidly  and  giving  place  to 
the  neutral  finishes.  Mahogany  still  holds  first  place  in  popular 
favor,  but  it  is  needlessly  expensive  for  many  of  the  modest 
homes  of  to-day,  when  the  simpler  and  more  practical  cottage 
furniture,  stained  or  painted  in  attractive  colors,  may  be  ob- 
tained at  half  the  cost. 

Wicker  is  good,  and  gradually  becoming  better,  as  more  grace- 
ful designs  are  being  turned  out  by  the  manufacturers.  One 
of  its  most  estimable  qualities  is  that  it  may  be  painted  or 
stained  any  desired  color,  and  with  a  variation  in  upholstery  be 
made  adaptable  to  any  surroundings,  from  the  formal  reception 
room  to  the  most  unconventional  porch. 

The  dealers  have  been  largely  responsible  for  the  popular 
prejudice  in  favor  of  using  only  one  kind  of  wood  or  finish  in  each 
room,  as  this  enabled  them  to  sell  an  entire  set  of  furniture;  but 
the  more  enlightened  firms  and  decorators  now  make  a  practice 
of  guiding  the  public  taste,  and  will  be  found  prepared  to  assist 
their  customers  in  making  a  wise  selection  of  individual  pieces. 
This  method  of  choosing  each  chair  or  table  on  its  own  merits 
may  seem  a  hazardous  undertaking,  but  a  little  study  of  fur- 
niture design  will  enable  one  to  recognize  readily  the  styles  and 
periods  which  can  be  most  successfully  combined. 


64 


The  table,  of  American  oak,  was  brought  from  an  old  New  Hampshire  church,  where  it  was  used  for  com- 
munion, and  the  tapestry  above  is  Flemish.  The  Charles  II  armchairs  bear  the  emblem  of  the  Restoration 
at  the  top,  and  the  seats  have  needlework  cushions. 

A  CARVED  chest  makes  a  very  handsome  piece  of  furniture  for  the  A  group  of  perfectly  balanced  pieces  of  furniture,  which  would  be 

formal  hall  where,  as  here,  it  is  in  keeping  with  the  architecture.  equally  suitable  for  a  hall  or  for  the  end  wall  of  a  living-room. 


65 


Groups  for  Odd  Corners 


Painted  furniture  is  used  for  this  inter- 
esting group  above,  consisting  of  day 
bed,  tip  table,  lamp,  and  stand.  None 
are  lacking  in  individual  charm,  and 
their  arrangement  in  the  group  is  good, 
although  any  one  of  them  could  quite 
well  be  used  separately  in  other  sur- 
roundings. 

A  SMALL  stand,  or  low  table  (below),  with 
Chinese  lacquer  decoration,  is  of  Shera- 
ton design  and  would  be  an  interesting 
piece  for  either  living-room  or  hall. 


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The  rather  elaborately  carved 
plant  stand  above  is  Oriental 
in  character,  but  in  company 
with  a  Japanese  screen  as  back- 
ground, makes  an  effective 
corner  piece. 


A  MAHOGANY  kidney  table  of 
graceful  lines  may  be  just  the 
thing  for  a  small  corner  where 
a  larger  or  more  regular  piece 
of  furniture  would  appear  awk- 
ward. The  rush-seat  arm- 
chair is  of  just  the  right  char- 
acter and  scale  to  accompany 
the  table. 


An. appropriate  type  of  day  bed  for  the  formal 
boudoir  is  upholstered  in  satin  broche  with 
rolls  to  match,  A  standard  lamp,  with  light  silk 
shade  of  the  same  color  as  the  round  cushions, 
is  a  convenience  as  well  as  a  decorative  asset. 


A  Queen  Axni:  chair  ot  excellent  propor 
tions  is  covered  with  a  very  fine  flowered 
tapestry  which  is  a  reproduction  of  an  Early 
English  handmade  tapestry  The  mahog- 
any stand  is  Georgian,  both  pieces  being  re- 
productions of  their  respective  periods. 


An  early  Louis  XV  model  has  been  repro- 
duced in  this  little  marquetry  desk,  which 
would  be  admirably  suited  for  a  living-room 
or  boudoir.  There  is  a  secret  drawer,  and 
a  leather-covered  writing  bed  which  pulls 
out  when  the  desk  is  open. 


A  MAHOGANY  sidc  table  of  Hepplewhite 
design  is  inlaid  with  ebon)'  and  pear  wood 
and  is  a  handmade  reproduction.  The 
candlesticks  are  of  the  same  era. 


For  the  tea-table,  one  might  choose  this 
piece  with  Chinese  lacquer  decoration.  It 
is  mahogany  and  of  modern  design,  al- 
though details  are  suggestive  of  Chippen- 
dale. 


The  side  chair  above  might  be  ap*- 
propriately  used  with  the  side  table. 
It  is  upholstered  in  mulberry  damask. 


Chippendale  chairs  were  sometimes 
painted  black,  but  the  original  of  this 
one  was  made  in  mahogany. 


67 


In  the  old  stage-coach  days  this  guest-room 
of  the  tavern  at  Peterboro,  New  Hamp- 
shire, was  used  for  ladies  who,  cold  from 
their  long  ride,  sat  toasting  themselves 
before  the  open  fire.  Although  the  tavern 
was  recently  remodeled,  this  room  has  been 
left  practically  as  it  was  long  years  ago. 
The  secretary  with  turned  legs,  and  the 
slender  table  beside  the  fireplace,  are  two 
of  the  most  beautiful  pieces  in  the  tavern, 
which  contains  many  rare  and  valuable 
antiques. 


This  cherry  drop-leaf  writing  table  (left), 
with  leaves  cut  into  a  little  six-sided  effect, 
was  picked  up  at  a  country  auction  for  a 
dollar  and  seventy-five  cents.  The  legs 
are  slender  Hepplewhite,  inlaid  near  the 
base  with  a  band  of  ebony  outlined  with 
holly.  The  low  chair  is  Dutch  type,  but 
American  made. 

Among  the  treasures  of  an  old  house  at 
Bristol,  Rhode  Island,  is  a  pair  of  broad 
Dutch  mirrors  in  gilt  frames  (right).  The 
Sheraton  card  table  is  one  of  a  pair,  also. 
The  lovely  soft-blue  English  pitcher  has  a 
tiny  black-and-white  checked  band  near 
the  top  and  bottom. 


A  FINE  old  English  dresser  filled  with  pew- 
ter is  one  of  the  most  interesting  pieces  in 
the  dining-room  of  this  New  England  farm- 
house. There  is  a  random  collection  of 
styles  and  periods  represented  here,  but 
they  are  wisely  combined  and  seem  to  live 
happily  together.  The  background  is  a 
delightful  wall-paper  of  blue  figures  on  a 
white  ground,  which  gives  an  efl^ect  of  blue- 
gray.  This  color  appears  elsewhere  in  the 
decorations. 


68 


Every  piece  of  furniture  in  this  bedroom  is  an  antique.  The  bureau  was  one  of  the  pieces  left  in  the 
original  old  house  from  which  the  present  home  is  remodeled,  and  formed  the  nucleus  of  a  collection  of 
choice  furniture.     To  those  who  know  the  charm  of  the  antique,  the  room  holds  much  of  interest. 


It  is  not  usually  good  practice  to  set  fur- 
niture diagonally  across  a  corner,  but  in 
some  of  the  old  houses  the  corners  of  the 
rooms  have  been  clipped  in  such  a  way  that 
a  diagonal  surface  is  obtained,  against 
which  such  a  piece  as  this  delightful  old 
dresser  may  be  appropriately  placed. 


( 

'1 

Jd 

A  PLAIN  type  of  Empire  bureau  has  well- 
turned  posts  and  is  of  warm  brown  ma- 
hogany with  the  finest  wood  markings. 
Above  it  hangs  a  plain-framed  mahogany 
mirror  with  gilt  rim  outlining  the  glass. 
The  little  drop-leaf  table  is  a  useful  piece 
which  can  be  either  a  sewing  or  a  writing 
table. 


A  GROUP  consisting  ot  a  medallion  chair, 
mahogany  table  and  mirror,  all  of  the 
Empire  period,  is  effective  at  one  end  of 
the  fireplace.  The  back  brace  on  the 
chair  is  an  especially  fine  piece  of  carv- 
ing —  an  interlacing  of  the  acanthus- 
leaf  motif  supporting  a  central  carved 
rosette. 


Apartment  furni- 
ture is  sometimes 
difficult  of  selec- 
tion, owing  to 
space  limitations 
and  the  usually 
non-descript  char- 
acter of  interior 
finish;  but  a  day 
bed  with  uphol- 
stered cushions 
and  an  abundance 
of  pillows  may 
often  be  made  to 
serve  in  place  of 
the  more  ponder- 
ous sofa,  and  with 
equally  good  ef- 
fect. The  use  of 
a  valance  of  cur- 


iam material  over 
the  doors  is  un- 
usual, but  its  pur- 
pose is  obviously 
to  conceal  the 
transoms,  and  the 
result  is  rather 
pleasing.  The  three 
pictures  hung  over 
the  day  bed  are 
well  chosen  as  to 
subject  and  ad- 
mirably arranged 
to  secure  an  in- 
teresting balance. 
Color  scheme  is 
in  tawny  yellows 
and  browns,  with 
orange  and  blue 
for  high  lights. 


A  ROOM  which  has  something  of  the  old  Colonial  days  about  it  and  yet  carries  a  feeling  of  the  modern  Eng- 
lish house,  contains  many  excellent  pieces  of  furniture,  any  one  of  which  might  be  selected  for  a  special  use 
under  more  exacting  conditions.  This  is  a  good  example  of  a  room  which  strives,  in  its  furnishings,  for  livable 
qualities  rather  than  for  any  consistent  decorative  effect. 

70 


LU 


McGratb  Sherrill  Press 

Graphic  ^rts  Buitding 

Boston 


LU 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

ENVIRONMENTAL  DESIGN 
LIBRARY 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recall. 


^'^0^2G  1973 

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